Ballad Lines
It is very rare that a new musical comes onto the scene with such hype and excitement behind it. It’s not easy in a world of jukebox, movie turned musical produced work to create work that is fresh, queer, and new. But somehow, like the songs that the show is based upon, Ballad Lines is resilient and unshaking in its determination to make a statement about the world of new musicals in the UK right now.
Ballad Lines is the story of how music changes over time; in a way, it is also about the people who sang, listened, and travelled across land and sea. But to say this is all the show is about reduces it. It is also about the body, choices, the power of saying yes or no, and who can afford that choice. But it is also about grief and family, blood or otherwise.
You would think a musical that captures all this would be sad, but that is far from the truth. Ballad Lines has transformed from its past iteration (known as A Mother’s Song in a past life). The story follows Sarah (Frances McNamee) and Alix (Sydney Sainté) in their new home. A new life stretches ahead of them and they get excited about their first home together. But one thing is still unpacked: a box from Sarah’s late aunt, Betty (Rebecca Trehern), who after her death Sarah cannot bring herself to face her past. But with some gentle encouragement, she does. Inside lies more than just tapes of Betty’s historical research into her ancestry of how the songs she knew from her life in the Appalachian Mountains came from far across the sea.
Within this Pandora’s box, we learn more about the ballad songs that Betty’s ancestors from Scotland and Ireland sang. Cait (Kirsty Findlay) is the wife of a minister in Scotland in the 17th Century, but when she becomes unexpectedly pregnant she struggles with her fate and the new role she is expected to play. We see how the songs she sang moved over to Ireland over 100 years later when sisters, Jean (Yna Tresvalles) and Shona (Siân Louise Dowdalls), test their relationship when sister Jean, a singer herself, gets pregnant after an encounter with a sailor. When a boat is leaving towards America, time is running short. Will she settle or get on board and what will happen to Shona?
Add in the talents of Ally Kennard (who plays any male character, which there are a fair few) and Gracie Lai as the mysterious Morna who may or may not be a witch, or just another woman trying to help a sister. Add in all the sapphic, millennial humour and you have yourself Ballad Lines.
We jump back and forth with Sarah as she unrolls each recording, meanwhile processing what family means to her and if now is the time for her bloodline to continue too.
This is a busy story with all the elements in the air. But there is a throughline: the music, which is a highlight and a reason to see the show. Composed by Finn Anderson (one of the co-book writers), the band is tight with just keys, fiddle, guitar, and drums. The music blends together new original music with folk traditions. Some of the new songs, especially Prologue and Words Are Not Enough, I would gladly listen to again. Not too dissimilar sonically to Come From Away blended with Spring Awakening with a touch of Fun Home or the recently closed Benjamin Button. But Ballad Lines makes its own impact in blending the old and the new seamlessly.
While the first act takes a while to fully find its landing, the show is tight. The second half, when the stakes are high, is a real ride. I do just wish the first half was able to find its story engine with a bit more urgency. Directed by Tania Azevedo (the other co-book writer), the staging is efficient, though I was not a huge fan of the front door being used when the set is open. I can forgive it. Choreography by Tinovimbanashe Sibanda was efficient with gestures to the heart, all the stomps you could imagine, and a beautiful moment with the tape cassettes acting like maps or bloodlines, connecting everyone to the story.
The performances throughout were impactful, a true ensemble piece. Especially in group songs, the performances shone. McNamee and Sainté as our modern couple have the perfect chemistry and really hold the show together. It’s a real joy to see at the heart of this show is a queer couple, a sapphic one at that. I hope all the other shows take watch and see that the stories of queer families still need to be told. Although I would have liked more conversation about Alix and knowing more about them, other than that they are Sarah’s partner and have a lot of meetings to attend.
Trehern as Betty brings us into the story and has all the charm and stubbornness you would expect from an aunt. We love her, behind it all. All the ancestors have their moments to shine. Though I do have to say the Irish accents do need a bit of polish, especially when the Scottish is so strong. Perhaps I am being extra picky, being from Ireland myself. At times, I was confused at the journey between the two and I think some clarity in the dialogue accent-wise will land more. Especially when we meet our Irish Catholic doctor who makes a jab: when the accents become murky, we do miss that important cultural point.
Ballad Lines is a busy show; there is a lot to do and much to cover. But what is clear is the harmony between collaborators. It shows in the movement, the ensemble being able to shine. I dare you to come to Ballad Lines and not leave with a tune in your ear after.
This show was reviewed on 29th January 2026 at Southwark Playhouse Elephant, London where it runs until the 21st March 2026. Tickets available here: Ballad Lines - Southwark Playhouse Elephant
Review written by Mary Condon O'Connor
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Photo credit: Pamela Raith
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