Cable Street ★★★★★

The history of this iconic East London street and how, on October 4th, 1936, a disparate group of residents and allies stood up to Sir Oswald Mosely’s British Union of Fascists is presented in this incredibly ambitious musical. To bring together conflicting political views of Alex Kanefsky’s book through the lyrics and music of Tim Galvin is no easy task, yet this powerful production beautifully overcomes obstacles to bring rousing anthems (reminiscent of Les Misérables) in a blend of angelic vocal harmonies.

A present-day group of tourists are taken on a guided walk through the East End, most notably through Cable Street, where the tour guide informs the group of its famous history. One member of the group is clearly looking for landmarks and sites told to her by her mother, who grew up there before moving to the US. The show moves from the present to the past, where a young group of communist supporters is organising against the rise of fascism in the area as well as recruiting people to travel abroad to support their comrades across Europe, most notably in Spain. By contrast, Oswald’s local Blackshirts are also arranging their campaign to assert their sense of national/racial identity and dominance.

Three families, one Jewish, one Irish and a mother and son who have recently moved from the north of England, all struggle with the impact of industrialisation replacing skilled labour, the Depression, increased rents, the risk of homelessness, disenfranchisement, fear of the loss of a cohesive identity and being exploited by the establishment. Cable Street experiences the intense rise of nationalism, xenophobia and racist rhetoric in which ‘other’ people are blamed and targeted. Sound familiar? In addition, women had recently been given equal voting rights, and the production shows the growing strength of women’s voices and the questioning and repositioning of men within a patriarchal society. Every theme is topical.

The cast of 13 is very diverse, and each plays a number of supporting characters and in the chorus parts. It is very fast-paced in terms of scenes, movement and dialogue; however, the focal points are the 23 songs spread across two acts. There are some fantastic singers whose voices project across the auditorium word for word, most notably Preeya Kalidas. Her vocal lead of ‘¡No Pasaran!’ (the Spanish for ‘They Shall Not Pass’, the motto used by the protesters against the BUF) is unashamedly emotive.

In the genuine desire to show the polemics, the conflicting political discourse and the evil of inhumanity through song, dialogue and characters, the show can feel like an onslaught at times where Gilvin and Kanefsky’s Pandemic brainstorming sessions are tangible. Diverse points of view within the media are also represented with comical scenes and songs from ‘The Jewish Times’, ‘The Daily Mail’, ‘The Times’ and ‘The Daily Worker’.

However, the sincere wish of acceptance as the basis of a unified society is unapologetic and unfailing.

There is a sweet, blossoming romance between two of the lead characters which brings a quiet relief to the strong voices and encases a twist in the final scenes.

The set is simple but effective, with backdrops of 1930s urban housing estates that are still recognisable (and lived in) today. There is astute functional use of tables and chairs to denote three different homes, a pub, a bakery, street barricades, a rooftop and a ship.

Cable Street is undoubtedly a first-class musical presenting historic events in an epic, almost legendary homage to those who had the courage of their convictions to stand against those who would have brought destruction and division to a diverse community.