Review! Redcliffe, A New Musical at Southwark Playhouse Borough, May 2026

Redcliffe begins with warmth and laughter before quietly devastating its audience by the final curtain.

If there’s one thing I’m a sucker for in theatre, it’s a story rooted in history and truth. Last night at Southwark Playhouse Borough, Redcliffe delivered both, what I wasn’t prepared for was just how emotionally overwhelming this new musical would become by its final moments. After several years in development and a sell-out workshop in 2024, the announcement of a fully staged production immediately caught my attention. Written by and starring Jordan Luke Gage — clearly deciding he wasn’t busy enough already — this new musical transports audiences to 18th-century Redcliffe, Bristol, and tells the heartbreaking true story of William Critchard and Richard Arnold and their forbidden love.

Jordan Luke Gage played the shy and sweet William — a man from a loving home who carries a dangerous secret. When he meets Richard, portrayed by Daniel Krikler, his life is changed forever as the two fall deeply in love. But 300 years ago, their relationship was forbidden and punishable by death, leaving the question: can their story possibly end happily?

This was my first visit to Southwark Playhouse Borough and, if you’re familiar with the Elephant venue, you’ll know the two theatres share a similar intimacy. I was delighted to see the space used in much the same way here too, with actors entering from every direction and fully embracing the venue. There’s a charm to that kind of staging that’s difficult to describe, but it creates an immediacy that pulls the audience straight into the story. Andrew Exeter’s staging and set design were wonderfully simple: a wooden stage, a bench, and boxes doubling as props. For this musical, less truly was more, allowing the cast and performances to take centre stage and forge a genuine connection with the audience. My eye was often drawn upwards, however, to the rigging above the stage etched with the names William and Richard — a subtle but effective touch.

Jordan Luke Gage had an enormous task on his shoulders, having written the book, music, and lyrics, but he succeeds impressively in all three areas, proving his talents extend far beyond performance alone. The story being told here feels deeply important. While we know homosexuality was illegal for centuries and that countless individuals and families suffered persecution because of it, this remains a reality today — punishable by death in twelve countries and criminalised in sixty-five. It is absolutely a story that still needs to be told. 

What worked particularly well was the contrast in tone between the two acts. Act One is warm, witty, and filled with laughter, while Act Two becomes devastatingly emotional. The emotional whiplash is intentional, and it works brilliantly. By the end of the musical, when the lights came up, there were visibly tearful audience members throughout the theatre — perhaps the greatest compliment possible to what has been achieved here.

Musically, there were standout numbers across both acts, though their tones differed dramatically. Act One leaned into humour and charm as the relationship between William and Richard blossomed. “The Most Amazing Wedding” and “Mother’s Favourite Day”, both led brilliantly by Rebecca Lock, were highlights for their entertainment value, while “A Million Things I Know” was utterly charming. “Pressure Pot” offered an early glimpse into William’s inner turmoil, and “Never Getting Rid of Me” confirmed what the audience already suspected about the pair.

By Act Two, the musical shifts into far darker territory as the story moves towards its heartbreaking climax. Songs such as “Hurricane”, “I Am Found”, and “Loophole” carried the emotional weight and anguish needed to support that transition beautifully.

As William, Jordan Luke Gage delivered a soft, sensitive performance full of vulnerability. William comes across as someone more comfortable observing the world around him than placing himself at its centre, and it was impossible not to smile whenever Gage was onstage, particularly as he showcased his exceptional vocals time and again.

But the strength of the production lies in its ensemble as a whole. Daniel Krikler’s Richard was confident without ever becoming arrogant, and the chemistry between the two leads was immediate and believable. I only wish we had seen more of him in the second act. Jess Douglas Welsh, having been involved with the musical during its workshop stage, was delightful as Abigail, bringing warmth and authenticity to a young woman determined to want more for herself, not just what is expected of her.

Melissa Jacques as Georgie and Joseph Peacock as Arthur also brought tremendous energy to the production, whether through Georgie’s perfectly timed comedy — “Is her daughter setting herself on fire again?” — or Arthur’s gentle innocence.

However, my standout performer of the evening was unquestionably Rebecca Lock as Mother. From the moment she opened her mouth with those unexpected operatic tones, she had the audience completely captivated. Her performance was faultless throughout. Everyone recognises a mother like this one: passionate, overbearing, but loving fiercely all the same. Lock balanced sensational vocals, impeccable comedic timing in Act One, and devastating anguish in Act Two with remarkable skill. As William’s verdict was delivered, you could feel Mother’s pain radiating through the theatre — a testament to just how powerful Lock’s performance truly was.

I’m already excited to see what the future holds for Redcliffe, a musical that so clearly represents a labour of love for Jordan Luke Gage. There are a plethora — if you know, you know — of reasons to see this production during its London run. Whether its future includes a longer engagement, a West End transfer, or even a run in Bristol where the story is set, this is a musical I’ll continue to champion wholeheartedly.

⭐⭐⭐⭐⭐

Redcliffe may tell a 300-year-old story, but its heartbreak feels painfully current. 

Redcliffe plays at Southwark Playhouse Borough until 4th July. Tickets from https://southwarkplayhouse.co.uk/productions/redcliffe/