Ticket was gifted in return for an honest review
Cable Street returns for a third outing, having previously enjoyed two sold-out runs. The new musical by Tim Gilvin and Alex Kanefsky and directed by Adam Lenson is redrafted for a run at the Marylebone Theatre before it transfers to New York for a run Off-Broadway. Whilst I didn’t catch the first two runs, it’s clear that this is a musical that continues to develop and grow.
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| Photo by Johan Persson. |
The musical recounts the 1936 Battle of Cable Street as Oswald Mosley’s British Union of Fascists marched on East London. One hundred thousand Jews, Irish workers and communists rose up to counter this march. Their voices stood together against hatred. It’s an event that changed the lives of those involved forever. Those scars feel ever timely with the current conflicts happening Worldwide at this current time.
At its core are three central characters. All young members of their family and face choices and the consequences that those choices lead to. There’s Sammy (Isaac Gryn), Mairead (Lizzy-Rose Esin-Kelly) and Ron (Barney Wilkinson).
Gryn excels as Sammy who has the most prominent journey. His character is frustrated by the lack of job opportunities and the rising tensions; his anger becomes the fuel as he vows to battle against the fascists. Sammy's music style is rap, with a Hamilton-esque feel to his numbers.
Esin-Kelly is really heartfelt in her delivery, whilst also riling up when required. Scenes alongside her mother, played by Debbie Chazen, are really well performed by both. Esin-Kelly has stunning vocals throughout the show and showcases real star talent.
Wilkinson’s Ron turns his own frustrations into almost unwillingly joining the Fascists in return for the offer of employment and securing the future of his home, which he shares with his ailing mother, portrayed by Preeya Kalidas. Wilkinson portrays the journey of the character tremendously. You believe the choices he makes, even if they are the wrong ones. He, too, shows magnificent vocal work throughout.
The story is told as a flashback as we’re greeted by Steve (Jez Unwin), an East End tour guide awaiting his next group. In enters Oonagh (Debbie Chazen) and a tour group, and off they go. Together, Steve and Oonagh share a connection to the story that unfolds and plays out wonderfully at the end.
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| Photo by Johan Persson. |
This is a real ensemble piece. Everyone multi-roles from modern-day tourists, to family members, police and fascists. With a quick off-stage costume change one of the cast can be back on stage in a different role within seconds. It’s no mean-feat for the 14-piece ensemble. Everyone works together to deliver the story.
There’s standout work by Jez Unwin. He multi roles between Steve, a tour guide frustrated by the Jack The Ripper tours taking over his patch, Yitzhak Scheinberg, the father of the family who longs for a peaceful existence and Mick, the leader of the Fascists. Romona Lewis-Malley shines as Rosa Schienberg; her solo ‘Stranger/Sister’ is a real moment two-thirds of the way into the second act. Preeya Kalidas stuns vocally throughout, particularly with the earworm protest song. ‘No Pasarán!’.
Tim Gilvin’s score has a real contemporary feel to it. Each character has its own style and sound. Most prominent with Sammy. There are some wonderful numbers and earworms that you leave the theatre with. It’s a clever choice to blend the world of 1936 London with this soundscape. It helps drive the storytelling along. Tamara Saringer’s work as musical supervisor and vocal arranger elevates the ensemble work and adds to the beautiful sound that is created.
The only real moment that didn’t land for me was the use of the newspaper sellers. This just felt a bit jarring to the tone of the scenes. Whilst they were well performed, with some brilliantly over-the-top work by Ethan Pascal Peters, it did just feel a little out of place in the tone compared to scenes either side.
Yoav Segal’s design makes tremendous use of the Marylebone Theatre stage. The design of the flat building at the back and two doors on either side of the stage is clever whilst the use of props ranging from tables, chairs and multiple pieces of paper. It cleverly roots the piece whilst Ben Jacobs and Sam Waddington's lighting design adds texture and feeling. The lighting drives the tension, particularly in the Battle sequence. Excellently lit, it helps you connect and enhances the emotion of the piece.
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| Photo by Johan Persson. |
It’s brilliant to see this musical return once more. It’s a shame the run is quite limited as its powerful story is one that everyone should see and learn more about the Battle of Cable Street. This musical blends contemporary sounds with impassioned and gripping storytelling. A show like this is ever timely. Be sure to put this on your must see list.
⭐️⭐️⭐️⭐️
Cable Street runs at Marylebone Theatre in London until Saturday 28th February 2026. Tickets are available from https://www.marylebonetheatre.com/productions/cable-street
The show then transfers to 59E59 in New York running from Sunday 26th April until Sunday 24th May 2026. Tickets are available from https://59e59.org/shows/show-detail/cable-street/
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