Review: BALLAD LINES - Southwark Playhouse Elephant (06/02/26)

New folk musical strikes profound chord but, unlike the proverbial ballad, lacks flow

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Though times and attitudes may well change unequivocally throughout the centuries, one perpetual source of connectivity to the past is the musical and verbal tradition passed down the generations from mothers to daughters, aunts to nieces, as if it flows down family trees like a waterfall. One way or another, traditional music has had a way of surviving beyond the limited technological resources of the day when it was conceived, a notion that seems to be at the very heart and soul of this new folk musical, albeit with perhaps choppier narrative waters than one may have wished.

The company of "Ballad Lines" (credit: Pamela Raith)

"Ballad Lines" takes place over the course of around 400 years, focussing on modern day New Yorker Sarah, a queer woman who has just moved in with her girlfriend Alix, and the pair are preparing for a big housewarming party. Whilst unpacking, she discovers an old box from her aunt Betty, containing links to her past by means of an old cassette player, and this helps her re-engage with her folk roots, most notably through tales of ancestors Cait from 17th Century Scotland, and Jean in Ireland 100 years later.

Ancestral figures are ever present, and flow in and out of the story throughout the performance, however the way in which the story is presented often feels slightly disjointed, largely due to the fact that it seems to hop back and forth in time with gay abandon. Not only this, but there are elements of the book that just don't add up, for instance Sarah, initially attempting to distance herself from starting a family with Alix, seems to perform a complete U-turn with little to no warning. In spite of the clarity of delivery and direction, as well as it being thematically sound, especially in dealing with themes of the evolving state of feminism and gender equality, that doesn't mean the ride isn't without these considerable bumps along the way.

The company of "Ballad Lines" (credit: Pamela Raith)

Whilst the overriding plot itself doesn’t feel particularly substantial, there is absolutely no shortage of musical talent on display, and the vocal harmonies in particular are absolutely spine chilling. The score features a wonderful mix of old and new, with traditional Scottish, Irish and Appalachian songs being interspersed with original content by composer Finn Anderson. A particular highlight is the hauntingly beautiful act 2 opening number “Queen Among The Heather", featuring the entire cast united in song, past and present intertwining marvellously, during which you could hear a pin drop in the intimate Elephant auditorium.

There is absolutely no doubt in my mind that "Ballad Lines" has plenty to love about it, with its lush, vibrant musical palate, and undoubted smorgasbord of vocal and instrumental talent bringing it to life with panache. Where it falls down is arguably the one-dimensional nature of the central plot, as well as it being rather difficult to feel anything for many of the central characters. This is in part due to some uneven, at times melodramatic acting performances, but largely is a consequence of the disjointed, heavy-handed nature of Acevedo and Anderson's script. As a book musical, it feels distinctly underdeveloped, however as a presentation of folk tunes and stories, it just about delivers what it promises.

★★★☆☆ (3*)

"Ballad Lines" runs at Southwark Playhouse until the 21st of March (tickets)