Redcliffe – Southwark Playhouse

While gay life has existed as long as humanity, the British history of homosexuality isn’t recorded in any informative detail until the 18^th century. It is via court records and lurid newspaper reports from that period which give colour to London’s bordellos, ‘rent boy’ scandals and the plight of poor men who were executed and pilloried for the crime of sodomy. Anyone interested in Georgian queer life should read ‘Mother Clap’s Molly House- The Gay Subculture in England 1700-1830’ by Rictor Norton. It’s academic and brutally comprehensive, but it’s an absolute banger.

It is from this arcane world of blackmail, public hangings and graphic pamphlets that Jordan Luke Gage has found inspiration for Redcliffe, his debut musical. Set in Bristol 1752-53, this eagerly anticipated production puts lovelorn gloss and epic showtunes on the grim true story of William Critchard and Richard Arnold. These men were executed in 1753 for what was then described as ‘the detestable crime of buggery’. Sexual activity between men was punishable by death until 1861 and remained illegal in England until 1967. Witness statements recently unearthed at Bristol Archives have added further insight on the men’s relationship and the illicit romp that prompted their arrest and execution.

Jordan Luke Gage is riding an understandable wave of acclaim that’s stemmed from leading roles in musicals such as Bonnie & Clyde, &Juliet and Bat Out of Hell.There’s no doubt the boy can belt out a tune and bring audiences to their feet. Writing the book, music and lyrics for a new musical AND playing the lead role requires Olympic levels of talent and stamina. Gage has both, in abundance. He’s been working on this show for several years, which has been fine-tuned through three workshop developments. Two of these stages were publicly presented at The Other Palace and Turbine theatre as part of the MT Fest showcasing new writing.

Gage plays William, a geeky lad in a small Bristol village, who happens to fall for Richard, a dishy, visiting sailor, played by a charming Daniel Krikler. Rebecca Lock plays William’s mother. She just about steals the show with nuclear stage presence, top comedy chops and a rousing performance of the song ‘Hurricane’ in Act Two. Lock nails the role and is the maternal heart of this show.

Also living with William and ‘Mother’ is his giddy kid sister Abigail (Jess Douglas Welsh) in a winning London debut. Singing ‘The Girl From Redcliffe’, a first act ballad, the purity of her voice gave echoes of Joni Mitchell. Utterly spellbinding. The always excellent Adrian Hansel plays Baber, the nosy publican who reports the gay lovers to authorities. He has only one song to flex his talent, but grabs it with gusto. Give this man a lead role, he’s criminally underused.

Costume Design by Martin Hanly is brilliant and beautiful. After studying Womenswear at Central Saint Martins, where he scored a first, he worked for Chanel and Saint Laurent. That pedigree is highly evident. The cast wear light cottons that seem like multi layered stonewashed denim. It’s a stylish optical illusion, giving tidy synchronicity to the overall aesthetic. Hanly is serving Georgian peasant rags and current high street fashion in one clever swoop. It was notable that while the audience melted in a May heatwave, the cast barely popped a bead of sweat under the lights. That’s not fashion, that’s bare witchcraft. Hanly deserves an award for these looks.

Set Design by Andrew Exeter is minimal, contemporary and stylish, giving the performers a clean slate to highlight their skills. Matt Hockley’s lighting design includes an illuminated dado rail which wraps around the audience. It has an element of graphic design that feels edgy, swathing the audience in whatever moods it’s creating. It’s a bold choice and it works well. With Katy Richardson as Musical Supervisor, Ben Tomalin as Associate Musical Director and Ben Ferguson on Additional Orchestration, the producers have secured a top-notch team who’re flexing their creative muscles to great effect.

While Daniel Krikler swaggers and dazzles as the cocky sailor who captures William’s heart in Act One, he is somewhat absent in Act Two, until the pair are facing the gallows. While the songs and scandalised villagers give weight to their affair, there’s an absence of sexual chemistry between the lead actors. The sub-plot romance between Abigail and Arthur (Joseph Peacock) felt more authentic than the central gay love affair. Their songs speak of longing and give romantic high drama, but the rest of their onstage exchanges felt a tad platonic.

Redcliffe’s levels of shine and confidence should carry this show to the West End and perhaps Broadway. It will no doubt be adored by teenage girls, home county mums and queens who like Sondheim and Streisand. The soundtrack is a high-quality cocktail of Sia, Stephen Schwartz, Mumford & Sons and Disney. While the show aims to spotlight historical homophobia and contemporary laws around the globe which deliver death for the crime of love, it’s a touch too sugary to fully land that punch. Does that matter? Not at all. It’s a heartfelt musical, and on that score, it punches above its weight.

Redcliffe is at Southwark Playhouse Borough until 4th July 2026.

Southwark Playhouse – Theatre and Stuff – Borough & Elephant

Reviewer: Stewart Who?

Reviewed: 29th May 2026
North West End UK Rating: