REVIEW: Cable Street at Marylebone Theatre until 28 February 2026
‘Powerful, poignant and alarmingly relevant’ ★★★★ ½
This energetic new musical – now in its third run and heading for Off Broadway next – centres round events in Cable Street in London’s East End in October 1936.
The depression was biting, Jobs were scarce. The community was a mix of Jews, Irish and other ancestries. And there was pressure to volunteer to fight in the Spanish Civil War. Enter Oswald Mosely and his black-shirted thugs more formally known as the British Union of Fascists (BUF) to stir up discontent and hatred. Of course immigration is blamed and used as a justification for violence, especially, against the Jews. It all sounds startlingly and hideously familiar to me. Only the details have changed in 90 years.
Alex Kanefsky’s book provides an effective framing device in the form of a modern day tourist tour led my Steven (Jex Unwin). He has a diary written by a man called Sammy (Isaac Gryn) who lived in Cable Street. He shares this with the group, especially with Oonagh (Debbie Chazen) who has come from America in search of her roots. The diary acts a flashback trigger. It’s neat plotting and there are some satisfying “Ooh!” moments at the end when it all links up.
A strong cast ensures that this story packs a powerful punch. Gryn’s Sammy is a very conflicted character. He is struggling with his orthodox Jewish family because he thinks they – especially his father (Unwin, again – talented actor) – have their heads buried in the sand. The contrast between the traditional Friday night at home with the aggression outside is well nuanced. And Ethan Pascal Peters, another accomplished multi-roler, evokes huge sympathy as the geeky, gentle younger brother always quoting scripture and planning to be a rabbi. But it’s not be … no spoilers because this is actually a fast-paced edge-of-your-seat drama.
Chazen excels in a whole range of roles from a feisty Metropolitan Police officer to an Irish mother, a Jewish mother and lots more. She is richly versatile and the speed at which these actors switch characters though slick exits and entries is very impressive. In two and three quarter the pace rarely flags although the second half could lose a quarter of an hour and cut to the chase more incisively.
Lizzy-Rose Esin-Kelly is another stage commander. Her character works in a baker’s and she’s a charismatic actor to watch. She sings beautifully too. And the ensemble, which includes everyone at times, works its socks off to good effect.
Tim Gilvin’s songs are a delightful blend of anguish, celebration, statement and humour and they drive the narrative rather than being, in any sense, bolted on. The rhythmic, menacing BUF anthem, for example is suitably sinister and when Unwin sings the simple, lyrical words “This too shall pass away” the sadness is palpable. And I loved the cynical “Read all about it” numbers in which four performers don billboards and represent the views of different newspapers in witty dance and patter.
One of the most impressive things in this show is Elizabeth Boyce on violin. She’s actually part of a five piece band along with impressive actor-muso Max Alexander-Taylor (guitar). Boyce is on stage much of the time, as an unobtrusive part of the action – playing continuo, adding dimension to songs from Irish-flavoured numbers in the pub to solo internal reflection. She makes the playing look enviably effortless and it sounds glorious.
There is a QR code in the programme to enable anyone who’s interested to hear the songs again. I think this has the potential to catch on in the way that Six or Les Miserables have, I hope so because it’s fine music and, my goodness, people need to think about these issues now before it’s too late.
Cable Street
Tim Gilvin (music and lyrics) and Alex Kanefsky (book)
Directed by Adam Lenson
Marylebone Theatre
16 January – 28 February
BOX OFFICE https://www.marylebonetheatre.com/productions/cable-street
