REVIEW: CABLE STREET, MARYLEBONE THEATRE

AG
3 hours ago
2 min read

Powerful new anti-fascist musical tells a timely story of hope

Thousands of UKIP and pro-Palestine protesters fill the streets around the corner from Marylebone Theatre, when we arrive to review powerful new musical, Cable Street.

While a George Cross-draped mob takes over London's streets outside, and pro-Palestine demonstrators block traffic on Marylebone Road, we have a poignant reminder about history repeating itself. Eerily similar scenes unfold in this slick production about the historic uprising of East London immigrants against Oswald Mosley’s barbaric fascists.

The high energy story is driven by Tom Given’s powerful, contemporary score and lyrics, with The Streets-esque hip-hop commentary, soaring ballads, and hilarious nod to Sondheim in the returning quartet of newspaper sellers, sharing the wildly different - often fear-stoking - headlines of each paper, as divisions and violence escalate.

The production is cleverly framed by a modern day walking tour of the East End, dancing touchingly between now and October 1936, with a dazzling cast of 11, breathlessly leaping between time periods, roles and costumes on both sides of the divide.

Alex Kanefsky’s bitingly clever script shows the sinister growth of fascism in this pocket of London, and the brave and defiant Jewish, Irish and Caribbean residents of Cable Street in a battle cry of unity with trade unionists and communists against neo-Nazis, to defend the street they call home.

At the centre of the story, are Sammy (Isaac Gryn) a former boxer who hides his Jewish name to seek employment, Mairead (Lizzy-Rose Esin Kelly) an Irish-born poet working in a Jewish bakery, and Ron (Barney Wilkinson) a Northerner who desperately seeks employment in London, only to be groomed into the British Union of Fascists (BUF) with false promises of work.

There are stand-out performances between them, and incredible vocals and presence, with Gryn’s Hamilton-esque story-telling, Kelly’s fiery and defiant performance and soaring vocals, and the nuance of Wilkinson's character, Ron's tragic story arc, from desperate young man to BUF member and his eventual regret.

Ron eventually perches on a rooftop, contemplating suicide after lacking the courage to stop the BUF from brutally attacking Sammy’s brother. There is a heart-wrenching scene, when Sammy joins him on the roof, poised to stab him to avenge the attack, but instead, reaches out to save him when he jumps.

Other stand outs include Jez Unwin, who manages the herculean feat of playing a friendly London tour guide, the gentle Jewish patriarch Yitzhak, preaching Tolstoyan pacifism, and a menacing Neo-Nazi, giving depth to all characters - often consecutively, at dizzying speed.

And a special mention to Ethan Pascal Peters, who owns the stage in so many roles, we lose count. He leaps from Sammy’s nerdy younger brother, who is training to be a Rabbi before being tragically beaten by the BUF, to hilarious newspaper salesman, and charismatic, Caribbean protester.

Spoiler alert: We won. This brilliant group of working class people from all backgrounds joined forces and drove out Mosley’s Blackshirts, proving that united communities can defeat right-wing extremism.

This message of hope, unity and resilience needs to be told today, more than ever - and Cable Street sings it from the rooftops.

Cable Street, Marylebone Theatre, 35 Park Rd, London NW1 6XT. Until 28 February