Review: CABLE STREET, Marylebone Theatre

Photo credit: Johan Persson

Cable Street tells the story of the historic Battle of Cable Street in 1936 when local communities in London’s East End came together to stand against the rise of fascism. Through music and storytelling, the show explores themes of unity, resistance and the power of collective action, highlighting how ordinary people can shape extraordinary moments in history.

Compared to the earlier iteration of Cable Street in 2024, the changes in this new version at the Marylebone Theatre are immediately noticeable. Most striking is the introduction of a significant number of new songs, with Tim Gilvin’s music and lyrics now leaning far more heavily into rap. While clearly intended to modernise the piece, these sections occasionally invite comparisons with Hamilton—comparisons that don’t always work in the show’s favour. The loss of one of the previously catchy musical motifs also removes some of the cohesion that once helped the story flow more organically.

Under Adam Lenson’s direction, the piece remains ambitious and clearly passionate about its subject matter. Alex Kanefsky’s book continues to present a powerful narrative, though some story nuances are harder to follow this time around, not helped by moments of unclear sound balance. Charlie Smith’s sound design occasionally allows music to overpower lyrics, meaning important details are lost—particularly frustrating in a show so rooted in political and historical specificity.

The company itself remains a real strength. Some of the ensemble has been with the show since its workshop stages, and that familiarity shines through. Their understanding of both the material and their characters is clear, and the confidence with which they move between multiple roles keeps the narrative flowing. That said, the impact of certain dramatic moments is slightly diluted by the doubling of roles. When an actor reappears almost immediately after a character’s death, it inevitably lessens the emotional weight of that moment, even though the transitions themselves are handled clearly.

The three central roles are played by Lizzy-Rose Esin-Kelly (Mairead), Isaac Gryn (Sammy) and Barney Wilkinson (Ron), all of whom slot comfortably into the production and help drive the story forward. Supported by a committed ensemble, the performances feel cohesive and well-rehearsed, with no obvious weak link and the vocal talents of all are very noticeable throughout, especially in ‘Stranger/Sister’ and ‘Shut Me Out’.

Yoav Segal’s set design is effective, retaining elements from earlier versions, including the clever use of tables and chairs that transform into barricades. These moments remain visually striking and symbolically strong. The move from a smaller, thrust-stage venue to the Marylebone Theatre inevitably alters the feel of the show. The earlier intimacy and immediacy are missed, and at times the energy doesn’t quite fill the larger space. However, the expanded stage does allow for broader, more impactful ensemble moments, which benefit scenes depicting collective action and resistance.

Sound is occasionally an issue, with lyrics and dialogue not always as clear as they should be due to the live music being a little overpowering. This does mean that some of the finer story details are missed, which is a shame given the complexity and relevance of the material. It is, however, lovely to see some of the band on stage, including Max Alexander-Taylor on guitar and having several roles in the ensemble.

Ultimately, Cable Street remains a powerful piece of theatre. Despite depicting events from over 90 years ago, the themes of division, resistance and community feel uncomfortably current. While not every change is entirely successful, the show’s core message remains strong and timely, leaving a lasting impression.

A story from history that still resonates.

**** Four stars

Reviewed by: Frances Tate

Cable Street plays at London’s Marylebone Theatre until 28 Feb, with tickets available here.