Redcliffe at Southwark Playhouse (Borough) Review
Jordan Luke Gage and Daniel Krikler in Redcliffe. Photo: Pamela Raith
Written by Penny for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review. All views are our own
Redcliffe is a new musical, the writing debut from West End favourite Jordan Luke Gage. Following workshop performances at MTFest and The Other Palace in 2024, a fully staged production has opened in the Large space at Southwark Playhouse (Borough). It’s set in the Redcliffe area of Bristol and based on the true story of William Critchard and Richard Arnold, two gay men executed in 1753. Their crime? To fall in love at a time in which homosexuality was illegal, considered an obscenity.
This tragic story doesn’t sound like the sort of material that would make for a good musical. But Jordan Luke Gage has created a piece of theatre that does not shy away from shocking facts but is still full of humour, warmth and even hope.
The book is exceptional – quickly drawing us into the Redcliffe community and introducing the key players. These are simple, God-fearing people living their simple lives, looking out for their neighbours and coming together in the local pub for a drink (or four). They’re a likeable bunch and the early scenes are full of good-natured banter and humour. We meet William, an earnest young man home for Christmas, and his loving mother and sister. They’re a close family with relatable problems – Mum wants William to settle down with a wife, sister Abigail wants local baker’s son Arthur to notice her, William wants to take care of his family following his father’s death. As the story unfolds, we begin to see hints of the tragedy to come and whilst the first act’s tone stays on the lighter side, it still packs a punch. The second act is a lot darker, moving from the warmth of home to a prison cell and courtroom. There is no flippancy or sensationalism in the treatment of these scenes but they are not all doom and gloom – we see William’s family working to free him and the strength of their love for each other. The appearance of one Felix Farley to perform his “Christmas poem” is slightly jarring but a very effective means of showing the isolation of the Critchard family, when all their so-called friends and neighbours reduce William’s plight to raucous entertainment alongside their self-righteous judgement.
The score is just as good as the book. The music has a strong folk influence, lots of strings and some glorious harmonies. The lyrics are a great reflection of what’s going on, moving from simple rhymes and ideas to reflect the townsfolk, to witty wordplay as Richard and William get to know each other, and then to absolute heartbreak and devastation expressed through lyrics that are as profound as they are poetic. Gage is known to be an exceptional singer and his music plays to all of his strengths, as well as those of the vocally gifted cast around him.
The staging is incredibly effective. Presented in the round, Andrew Exeter’s minimalist set has a wooden frame suspended above the action, with William and Richard’s names along with the dates 1752-53 engraved into it. It’s a constant reminder that these were real men. Scenes are created with actors moving crates around to represent furniture, and storing the few props in them. There’s a pool of water representing domestic chores as well as the port of Redcliffe – used for both teasing and threatening moments. Matt Hockley’s lighting design builds the atmosphere and tension – a red glow around the stage as the danger grows.
Director Paul Foster has absolutely understood the assignment – creating a series of vignettes that bring the characters to life before we move to the drama that is to unfold. The supporting cast rarely leave the stage, when not involved in the action they are silent observers, sitting in judgement. A scene in which young Abigail dreams of her beau is beautifully staged, with the cast draping her in gauze scarves in various pastel shades, turning her into a maypole as they weave around her, a teaser for the married life she’s dreaming of.
The casting really is the icing on the cake. Everyone has a moment in the spotlight and they all shine, collectively and as individuals. Melissa Jacques is a fantastic comedy sidekick to William’s mother, later switching to cold authority as the Judge. Jade Johnson is everyone’s favourite landlady and Steven Serlin is truly chilling as the “comic” Felix Farley and then the vicious prison guard (with a brilliantly choreographed fight scene).
Rebecca Lock gives a standout performance as William’s mother. She has fantastic comic timing, used to full extent in the first act, and later delivers a song so full of desperation and pain, ‘Hurricane’, that it’s almost unbearable to watch.
Making her London debut as William’s sister Abigail, Jess Douglas Welsh easily matches the seasoned performers around her. Her youthful exuberance is refreshing and charming, with singing that displays a fantastic range, tone and great storytelling.
The role of William’s lover, Richard Arnold, is maybe not given so much chance to stand out as the other main characters, but Daniel Krikler certainly does not fade into the background. He has great charm, presence and has fantastic chemistry with Gage’s William.
As for Jordan Luke Gage, suffice to say his performance is phenomenal. His transition from shy, repressed young William to the pure joy of letting his feelings out is beautiful to watch. And his strength of character in the second act is as inspiring as it is heartbreaking. Always a brilliant singer, in ‘Void of Love’ he delivers one of the best vocal performances seen on stage in a long time.
Redcliffe is an exceptional piece of theatre, it’s hard to believe it is the writer’s debut! It tells a story that needs to be told in a way that manages to feel contemporary and of its period at the same time. It is rare that a show can see its audience moving from tears of heartbreak to tears of laughter in a heartbeat, but Redcliffe has managed it. Despite its tragic story, it ends on a strong message of hope, it’s very emotional but very uplifting.
There are a plethora (if you’ve seen the show you’ll know!) of reasons to see Redcliffe. It’s a real and important story, brilliantly staged and told with passion by a fantastic cast, with truly beautiful music. In telling the story of William Critchard and Richard Arnold, the show shines a light on how far we have come since the 18th Century, but also acts as a reminder that, in a world in which it is still illegal to be gay in 12 countries and LGBTQ+ rights are increasingly under threat, we still have a long way to go. It’s a show that has a very bright future. Book a ticket now before they’re impossible to find.
Redcliffe runs at Southwark Playhouse (Borough) until Saturday 4th July 2026.
★★★★★