Julia’s Song – Epstein Theatre

A setting of white picket fences (?) backed by a row of seemingly terraced houses (?) – in posh Woolton, and Julia breezes in like a breath of fresh air. And she deserves a tribute; my companion compared her with Dolly Parton. Julia too was talented, intelligent, ambitious and free-spirited; vivid, beautiful and vibrantly dressed, but with a mass of red curls. Alison Crawford, in many ways, is the epitome of John’s mother. And in many ways, she would have been described as no better than she ought to be. More accurately, sadly, she never had the chance to better her life; given a break, you could imagine she may well have almost been the next best thing since… The Beatles. Unfortunately, this biography, although accurate (writer and director, Sylvia Hall, was custodian at the childhood homes of Lennon and McCartney) doesn’t quite hit the mark, being uneven and somewhat erratic That said, parts are memorable, particularly the shock of it starting at the end, while the second half takes off with 17-year-old John Lennon, surprisingly cheerful rather than cynical, taking the stage.

And it’s Liverpool so it’s bound to be funny, isn’t it; sadly, many of the jokes fall flat, although a shame the scene with the problem zipping up her dress turned into a wardrobe malfunction. Dialogue occasionally avoided being spot on, with oddities like Julia’s eyes being described as the colour of seashells – white? Musically however, The Quarrymen band tucked into a corner of the stage, it was much more satisfying, thanks to composer, Tom McConnell, especially with Adam James Johnson pouring out his heart as the young Lennon. One of the highlights is the duet with Freddie Lennon and Julia; like her sister, Mimi, such powerful voices.

Feckless is a lovely word to describe somebody who basically does not give… a damn. Freddie blames everybody and everything else when things go wrong, incapable for taking responsibility so you sympathise with Julia, particularly as he was away most of the time as a sailor. Not an easy role, balancing infuriating with lovable, but it’s carried off with aplomb by Luke Seddon. Similarly, Florence King shows us Mimi as so straitlaced and strict (she took care of John after complaining about her sister to Social Services) but she clearly adored John and did her best for him. He in turn, declares how he enjoyed making her laugh.

On the other hand, just a walk-on for Paul McCartney (not credited in the cast list) but in that sparkling cameo, it sounds exactly like him. Whereas young John doesn’t have a Liverpool accent. Olivia Whittaker, mainly young Julia, and Leslie Longley (romantic interests Bobby Dykins and Taffy Williams plus Jack Baman) successfully tackle multi-tasking, as does Hannah Hll, as May and Anne. But Christopher Lee-Power, disciplinarian Pops, who insists his illegitimate granddaughter be given up for adoption, somehow does not manage to inhabit the role and mostly comes across as uncomfortable instead of fierce. Yet despite him, her critical sisters and all those men, amazingly, Julia remains spirited and enthusiastic; she certainly imbues her son with the same passion, teaching him to play ukelele and guitar.

Yes, you would have expected a packed Liverpudlian audience, but the play could not have had a more rapturous reception.

Reviewer: Carole Baldock

Reviewed: 10th September 2026

North West End UK Rating: