Review! Ballard Lines at Southwark Playhouse Elephant, January 2026

Ballad Lines quite literally storms and thumps its way into Southwark Playhouse Elephant for its London premiere, running from 23 January to 21 March. Originally conceived at the Edinburgh Fringe Festival in 2014 by Finn Anderson and Tania Azevedo, the musical has undergone extensive development, evolving from its original title A Mother’s Song into Ballad Lines as it is known today. Following a successful concert performance in Stirling, Scotland, and the release of a cast recording, it became clear that this folk musical was destined for a fully staged production.

The show bursts into life with a powerful opening number, as the full cast gathers to sing the traditional ballad The Four Marys, accompanied by an all-female band. This immediately establishes the production’s devotion to voice, history, and collective storytelling. Ballad Lines blends original contemporary music with reimagined traditional ballads drawn from Scottish, Irish, and Appalachian heritage. It tells the interwoven story of three women across three centuries, connected through heritage, loss, and the melodies passed down from generation to generation. Although these women live in different time periods, the 17th, 18th, and 21st centuries, the ballads bind them together, ultimately guiding Sarah toward an understanding of her true desires.

Following the opening number, the narrative settles in modern-day America, introducing Sarah and her partner Alex, played compellingly by Frances McNamee and Sydney Sainte. The couple have just moved into their dream one-bedroom apartment, and life appears perfect, except for a neglected box that Sarah has avoided opening since the death of her Aunt Betty. Encouraged by Alex, Sarah finally confronts the box, discovering what initially seems to be nothing more than old cassette tapes.

These tapes reveal Sarah’s aunt recounting intimate stories of women from Sarah’s family history in Scotland and Ireland, each navigating their own hardships. On stage, Rebecca Trehearn brings these stories to life, beginning in the present and transporting the audience back to 17th- and 18th-century Scotland, where the ancestors’ stories are enacted. Kirsty Findlay, Yna Tresvalles, and Sian Louise Dowdallis shine in these historical narratives, combining vocal talent with emotional depth. Ally Kennard is a particular standout, not only as the show’s only male performer but also for his versatility in playing male roles across centuries, from a 17th-century Scottish minister to Sarah’s American brother.

Rather than building toward a single dramatic climax, the musical develops through thematic parallels. Historical narratives echo one another, while the contemporary storyline reflects on the relevance of these inherited songs in the modern world. This structure allows for moments of striking musical beauty, particularly when melodies are shared across time periods, reinforcing the idea that these voices , though separated by centuries,  remain powerfully connected. I particularly enjoyed this staging and story telling design but I can understand why some people might find this at points disjointed.

I personally found this musical sensational, particularly resonating with me as someone of Irish heritage. Its narrative of exploring identity, heritage, and shared connections through song is deeply engaging, I found myself feeling very emotional at various points especially because of the music. The songs themselves are really catchy, heartfelt, and full of emotion. The musical accompaniment was incredible, with the band integrated into the onstage action, even featuring a show-stopping fiddle solo.

Overall, Ballad Lines may have an unconventional structure, and the narratives occasionally feel fragmented, but the musical’s emotional resonance more than makes up for it. From the haunting beauty of its traditional ballads to the intimate performances of Frances McNamee and Sydney Sainte, the show succeeds in creating a world where past and present converse through music. By the final note, it is clear that Ballad Lines is not just a celebration of folk traditions, but a reminder of how stories, and the songs that carry them, continue to shape us.

Catch the show at Southwark Playhouse Elephant until 21 March. Book here 

⭐️⭐️⭐️⭐️⭐️

Review written by Emma Knott.