The House Article | “A show for our times”: Baroness Hodge reviews ‘Cable Street’

An ‘emotional’ performance: Lizzy-Rose Esin-Kelly as Mairead Kenny | Image by: Johan Persson

3 min read18 min

The battle of Cable Street in 1936 is one of those rare moments in our history that we celebrate. A moment when good defeated evil, a moment when communities came together to reject right-wing extremism, a moment when the Jews joined with Irish dockers, members of the then flourishing Communist Party, trade unionists, socialists and regular concerned folk, to take a joint stand against Oswald Mosley’s British Union of Fascists and their tyrannical hatred of Jews. They halted the fascists’ march through the Jewish East End and ensured that, “They shall not pass.” 

What happened then resonates so strongly with what is happening now. The scapegoating of Jews during the Great Depression then and the scapegoating of migrants today; the rise of the extreme right then and the rise of the populist right today; the political upheaval then and the volatile politics of today. So this new musical chronicling the Battle of Cable Street is both timely and appropriate. The work of Alex Kanefsky who wrote both the original book and the play, and the composer and lyricist Tim Gilvin brings us an ambitious, brave and compelling show that is creatively complex and excellent – an evening well spent for any political nerd wanting an optimistic night out.

Barney Wilkinson (Ron) gives a convincing performance of how desperation and failure can drive you into extremist arms

The play revolves around three young individuals and their families: a Jewish ex-boxer, Sammy, who changes his name to find a job; an Irish woman, Mairead, who dreams of becoming a poet and works in a Jewish bakery; and a young lad from the North, Ron, who lives with his alcoholic mother and can’t find a job.

There is a fantastic range of catchy music, from rap to songs that reflect Jewish and Irish cultures, to others based on pop music and mirroring Stephen Sondheim and Hamilton; and plenty of strong protest songs, including My Street and No Pasaran!

The energy and passion of the actors is fabulous, with quick changes of costume as they change their roles. Lizzy-Rose Esin Kelly as the Irish Mairead gives a really strong and emotional performance, blasting out some memorable songs, while Isaac Gryn (Sammy) as a rapper shows a masterly display of breath control and clear delivery, and Barney Wilkinson (Ron) gives a convincing performance of how desperation and failure can drive you into extremist arms. They play alongside a talented cast. It will be hard to forget Jez Unwin on stage as the concerned Jewish dad one minute and then immediately emerging as the thuggish local Blackshirts leader.

It is great that the musical is moving to Brits Off-Broadway in America. Perhaps small changes can be made. Cable Street tries to encompass too much with too many characters so that it ends up being two-dimensional with little room for nuance in the stories or the characters. Did we really need the puppetry of the horse; did we have to be distracted by the windows opening just once; and did the scenes with the papers reporting on the happenings really add value?

But that apart, the energy, vibrancy, passion, music and story make this an important new musical show that is gripping, thought provoking, enjoyable and optimistic. A show for our times.

Baroness Hodge of Barking is a Labour peer

Cable Street

Directed by: Adam Lenson

Music and lyrics by: Tim Gilvin 

Venue: Marylebone Theatre, London NW1, until 28 February