Ballad Lines is a heart-opening new musical, directed by Azevedo, that shines a light on identity, belonging and the stories we choose to carry with us. The original score weaves together new songs with centuries-old traditional Scottish, Irish, and Appalachian ballads performed live by an all-female band, breathing new life into music that has echoed through generations.
Review by Richard Lambert
This is not a new musical, it’s been through many iterations both here and in the US. Grown from a concept in 2014 there have been many years and plenty of time to develop the show. Sadly, that’s what’s lacking here – a good book.
We see several people who all seem to have issues revolving around babies. A lesbian couple as the leads in this musical are torn apart when one wants a baby and the other doesn’t. Two characters die in childbirth. One of the men so desperately wants a baby that he takes in an expectant woman and gives her a job and home in anticipation of a child. We also go back through the childhood of our leading performer by listening to mix-tapes left by her deceased aunt. Why this musical doesn’t have a reference to Babies in the title is a complete mystery.
Each storyline is spoken and then sung about. With a one set platform of a kitchen unit and an armchair it’s more of a concert than a piece of musical theatre. The first half’s story, if it were a play, would likely take 5 minutes. The second half picks up considerably to the point the aunt apologises to our lead, and then it gets bogged down again with repetition of the entire story followed by an epilogue of “what happened next”. Starting at 7pm and final bows at 9.40pm with an interval is a very long production. Personally I’d enjoy this production more if they took out all the dialogue and created a concert.
But having said all that the music in the show is glorious and the singing is delicious. This cast is just wonderful. The band has a brilliant violinist and in the style of the show would likely be playing “the fiddle”. The band and the music are really great!
The lighting rig looks like it was borrowed from a football stadium with high powered flood lights. Every musical accent and beat is sync’d to a lighting Q that bumps and fades incredibly musically. The result isn’t always pretty but it extremely detailed and dynamic. An under-stage fog machine pumps fog across from stage left which looks strange in places but works really nicely when it reaches the upper levels and displays the light beams. The change from memories to present-day gives clarity through the lighting.
The radio mics work really well but are over-amplified with much love of reverb. It comes on and off with the songs but could do with more subtlety especially at the start of the songs.
The choreography comes across as modern rather than traditional but the musical staging and singing of the numbers is where the show excels. Fix the book or make it a concert and there’s a 5 star production in waiting.
Photo credit Pamela Raith
Cast
- Frances McNamee as Sarah
- Rebecca Trehearn as Betty
- Kirsty Findlay as Cait
- Sydney Sainté as Alix
- Ally Kennard as Jamie, Thomas, Ronan / Dance Captain
- Yna Tresvalles as Jean
- Gracie Lai as Morna / Ancestor (covers multiple roles)
- Siân Louise Dowdalls as Shona / Ancestor (covers multiple roles)
🎬 Creative & Production Team
- Finn Anderson — Co-Creator, Composer & Lyricist
- Tania Azevedo — Co-Creator & Director
- Shonagh Murray — Music Director
- Tinovimbanashe Sibanda — Choreographer
- TK Hay — Set Designer
- Simon Wilkinson — Lighting Designer
- Andy Johnson — Sound Designer
- Eliza Beth Stevens — Assistant Director
- James Anderton — Production Manager
- Kristie Winsen — General Manager
- Jane Deitch — Casting Director
This production blends new original songs with traditional Scottish, Irish and Appalachian ballads performed live, and follows three women across three centuries connected by heritage and song.