Marvellously Conservative: A Review of Cable Street
A Musical Journey Through History
Cable Street, a musical that recently made its way to the Marylebone Theatre, is a captivating production that takes audiences on a journey through a pivotal moment in history. The story unfolds in October 1936, during a tense standoff between cockney activists and Oswald Mosley's British Union of Fascists. But here's where it gets controversial... The musical presents this historical event through the lens of a moral fairy tale, painting a picture that may not reflect the true complexities of the era.
A Panto-Style Retelling
The authors, Tim Gilvin and Adam Kanefsky, have crafted a script that treats the East End during the Great Depression as a panto or a moral fairy tale. It's a good vs. evil narrative where socialists are portrayed as hard-working, golden-hearted heroes fighting against wicked landlords and their cruel rent hikes. Fascists, on the other hand, are depicted as angry, misshapen losers led by a waddling bald man with a stick-on moustache. While this approach adds a touch of humor, it also oversimplifies the socioeconomic struggles of the time, making it difficult to grasp the reasons behind the residents' choices.
A Blurry Focus
The show opens in the present day, with a group of tourists being led around Cable Street by an elderly historian. After a quick change of costume, the 13 performers transform into 1930s cockneys. However, the blurring of roles among the actors makes it challenging to focus on the central characters. We meet two large families, one Jewish and one Irish, who support the left-wing cause, but their stories could have been more deeply explored.
A Love Story with Limited Conflict
Sammy, a charming young Jew, falls in love with Mairead, an equally charming Irish poetess. Their political alignment reduces the potential for conflict in their romance, which feels predictable and sparkless. Their young neighbor, Ron, an angry, unemployed misfit, joins Mosley's black shirts in despair. His personal problems are presented as the cause of his far-right delusions, but the script doesn't delve deeply into his character development.
A Controversial Interpretation
Ron, played by Barney Wilkinson, delivers an amazing aria while contemplating suicide from a rooftop. Wilkinson's voice is a revelation, but the character's descent into despair feels rushed. The equally talented Preeya Kalidas, who plays Elizabeth and Edie, doesn't get the exposure she deserves. The pair could have been given a duet to showcase their talent.
A Government Pamphlet in Musical Form
Ultimately, Cable Street feels like a government pamphlet urging Britain to embrace sweetness, harmony, and inter-racial cooperation. While the message is noble, it may not resonate with everyone. Today, you'll find plenty of people in the East End who reject this cosy narrative, as the musical presents a false and reassuring picture of the past.
Mrs. President: A Brave Attempt at Historical Accuracy
In contrast, Mrs. President is a brave attempt to tell the story of Lincoln's widow through her relationship with a photographer, Matthew Brady. The show simplifies Mrs. Lincoln's story and sanitizes her reputation, presenting her as a misunderstood victim whose only crime is her deep love for her dead husband and four children. The photographer, played by Hal Fowler, comes across as a mischievous poser who wants to forge America's identity using 'my soul,' meaning 'my camera.'
A Controversial Performance
Keala Settle's performance as Mrs. Lincoln reinforces her impulsive, brattish character. After her husband's death, she spends five minutes screaming like a chainsaw in Brady's studio, which may be seen as an over-the-top portrayal. Director Bronagh Lagan's belief in fine acting as maximum vocal amplification may not be to everyone's taste. In subsequent scenes, Mrs. Lincoln appears in court wearing a straitjacket fashioned from her black mourning frock, adding a layer of ambiguity to her character.
A Thought-Provoking Conclusion
Despite its faults, Cable Street and Mrs. President are thought-provoking productions that encourage audiences to question historical narratives. Do these shows present a false and reassuring picture of the past? Or do they offer a unique perspective that challenges our understanding of history? The answer may lie in the eye of the beholder, leaving audiences with much to ponder and discuss in the comments section.
