Ballad Lines ★★★★★

Ballad Lines beautifully summarises itself as a heart-opening new folk musical about the stories we inherit. Sarah, having just moved into a New York apartment with her girlfriend, finally finds the bravery to unbox her late aunt’s belongings. From the difficult woman who raised her, she finds a series of tapes recording the songs and stories of struggling women from her ancestry. From Scottish roots, to Ireland, to the American Appalachian Mountains, they all face the same question expressed through passed-down ballads: what does it mean to become a mother, and at what cost?

Touching, heartbreaking and thorough, this is a masterfully refined script. Having successfully reached its full potential after almost a decade of development, it is confidently in its final form to be shown to a London audience.

Director Tania Azevedo makes the most of the limited stage space for the ensemble of actors. With Tinovimbanashe Sibanda’s fitting choreography and movement, strategic and visually captivating levels are used to avoid overwhelming the audience whilst highlighting the interweaving events and ambitions shared across these women.

Aiding the limited space is clever lighting design by Simon Wilkinson and sound design by Andrew Johnston. From background wedding chatter to the tape recorder microphone effect, simple choices are made that expand the space beyond the theatre walls, beyond even time and history. The lighting follows each narrative separately, with colour themes to complement different strands and characters. We feel comfortable in a New York apartment, country porch, minister’s house and travelling boat. But mostly, Wilkinson’s fast-paced and colourful design speaks to that of an experienced musical theatre lighting designer, reflecting the stunning musicality visually.

TK Hav’s set design, staged underneath the impressive bone structure of a wooden boat, forms Sarah and partner Alix’s small New York apartment. Colourful and comfortable, it’s understandable why this new space has given Sarah the confidence to look into her past. She can watch, she can join, she can revel and she can rejoice. We unlock the characters in her apartment with her, without the need for a dramatic, realistic set change that would remove her from the centre of the story.

The talented band are outlined by what resembles an Appalachian mountain, surrounded by candles and ready to deliver their best folk performances. Incorporating folk fiddle and accordion tunes, musicians Sonagh Murray, Sally Simpson, Maddy Slater and Isis Dunthorne give us the ceilidh-esque celebration that is Ballad Lines. Composer and co-creator Finn Anderson has mixed a wonderful flow of traditionally inspired Scottish/Irish ballads into a musical theatre setting. Early, Early in the Spring (traditional) especially stands out as not only a wonderful piece but also a strategic structural move to keep the energetic momentum after the interval, further proving that it is not only an entertaining story but also a well-paced and developed one. This is a West End transfer must, simply yearning and deserving a large end-on stage to share with a wider, lucky audience.

The cast shines across wide talent and accents. Troubled 17th-century Scottish Cait, played by Olivier-nominated Kirsty Findlay, has the voice of a fully encompassed folk singer, acting and singing with truthful emotion, drive and touching pain. Yna Trevalles plays 18th-century teenage Jean with incredible accuracy to the character’s childish hope and stubbornness — a young mother, a young woman, on the line between irrationality and simply trying in a difficult time. Supported by sister Shona, played by Sian Louise Dowdalls, who is an equally spirited and supportive presence. Olivier winner Rebecca Trehearn as Aunt Betty serves as our narrator through the story, guiding yet well integrated beyond a simple teller of tales. With a powerhouse of a voice, she is another undeniable pleasure of the production.

Lead Frances McNamee’s voice sometimes pushes and struggles through solo songs. However, her acting, specifically within the second act, provides a powerfully emotional, wickedly relatable and both tear-jerking and hopeful Sarah. Otherwise a few minor prop interactions are also mistakenly noticeable. A cardboard box evidently not cardboard, a mug clearly empty – although in a larger space this may be incognito, within the chosen venue they are evidently visible. But this is largely a minor detail in comparison to the otherwise triumphant performance.

These are women of talent, emotion and connection. A cast and crew of revolutionary story-building and musical creation. An easy big hit, carrying an audience out in tears and newfound folk loyalty. Steeped with the tales of women, girls and queer chronicles, Ballad Lines explores their conflicts but is infused with their strength, survival and autonomy.