Cable Street is an ambitious musical with a valuable history lesson and message of hope… it couldn’t be more topical
IT could hardly be more topical – a musical about extremism, racial intolerance and the politics of hate.
With anti-Semitism rife, communities polarised and far-right politicians emboldened, some draw parallels with the horrors of Nazi Germany in the 1930s.
But we sometimes need reminding that Hitler’s warped ideology had a foothold in Britain, too.
And this brave new show at Southwark Playhouse in Borough, south London tells a powerful story about the day the working people of East London stood up to fascism.
The Battle of Cable Street was a pivotal moment in the capital’s history.
On a sunny Sunday, October 4, 1936, Oswald Mosley’s British Union of Fascists planned to march through the East End, which had a large Jewish population.
Mosley’s Blackshirts blamed Jews for the lack of jobs and rising rents, and intended their march as a rallying cry to the nation.
But a 100,000-strong alliance of Jews, Irish immigrants, activists and dockers vowed “They Shall Not Pass” and stood shoulder-to-shoulder in defiance, pushing Mosley’s mob back into humiliating retreat.
This ambitious new musical by Tim Gilvin and Alex Kanefsky, directed by Adam Lenson, focuses on three young Eastenders and their families – jobless Jewish ex-boxer Sammy, fiery Irish communist Mairaid and disaffected Northerner Ron, seduced by fascism after his move to London in search of a better life proves fruitless.
The build-up to the march, with Blackshirts preying on distrust and enemies living as neighbours – plus a simmering love between Sammy and Mairaid – make for a compelling story.
The three principal actors (Joshua Ginsberg, Sha Dessi and Danny Colligan) excel in their roles and many of the 11-strong cast play multiple characters, seamlessly switching between freedom fighter and fear-spreading fascist.
The barricaded streets, rousing songs and storyline of defiance against oppression will inevitably draw comparisons with musical titan Les Miserables.
But, with a couple of exceptions (Bread and Roses, No Pasaran), the songs don’t quite match the quality of the performances.
There’s an odd mix of musical genres – from big show tunes to Sammy’s Hamilton-style rapping and the odd Cockney knees-up – which don’t always sit well together.
But the versatile cast, intertwining characters and inventive staging – all cleverly framed in the context of a modern-day tour group being shown around the East End – provide a valuable history lesson and ultimately, a welcome message of hope.
At Southwark Playhouse, Borough, until March 16. Visit https://southwarkplayhouse.co.uk/productions/cable-street/