Notes From Row H

Off West End Theatre Review – Southwark Playhouse Elephant

Playing at Southwark Playhouse Elephant from 23^rd January until 21^st March 2026, Ballad Lines is a folk musical that has been created and composed by Finn Anderson (Islander) and Tania Azevedo (Heathers), who is also the director. It is centred around Sarah and her journey when she opens a box filled with her family history – along with its ripple effects. Not a massive fan of her family, she initially wants to donate it but her girlfriend Alix persuades her to give it a chance. Sarah delves into the box and is absorbed by what it contains – and it plays out in front of her: either in flashbacks or in her imagination. She learns about her ancestors’ hardships, and their struggles within their traditional roles. All this information changes Sarah – much to the consternation of her girlfriend. 

The narrative is woman centred, with queer stories, chosen family, self-discovery, and of course, folk and Appalachian music. It is full of heart and, running through it, is the story of female agency and freedom. Also weaved into the story, is how questions about independence and motherhood are passed down from generation to generation – the same questions being asked, but in a different time and context. 

I would say that the best part of this musical, is the vocal talent on stage. Frances McNamee as Sarah is incredible as the central character – she gives a depth to the character which is wholesome yet heartbreaking. Sydney Sainté as Alix gives an equally strong performance and sometimes provides some much-needed relief through her witty one liners. Kirsty Findlay as Cait and Yna Tresvalles as Jean, give tremendous and heart wrenching performances as two of Sarah’s ancestors – their vocals are flawless. Ally Kennard multiroles perfectly between Jamie, Thomas, and Ronan – who are husbands and friends of Jean and Cait.

Musically, this show is impeccable. The songs provided a natural undercurrent for the events happening on stage, and during the group numbers, each character has a distinct voice and they all complemented each other. The songs themselves are beautiful earworms, which will have you humming them for days afterward. They are Benjamin Button-esque too, which I loved and was very comforting. The choreography by Tinovimbanashe Sibanda (King of Pangea) was visually incredible too and enabled the seamless transitions between the generations. 

In terms of the staging, it was very cleverly done. As the stage was quite long and thin, they made use of the aisles and floor space, which made the whole show feel more immersive and allowed the audience to feel included in Sarah’s discoveries. TK Hay (The Jungle Book)’s set design was simple yet effective, and the lighting design by Simon Wilkinson (Bedknobs and Broomsticks) added a layer of visual entertainment too. The costume design by Carly Brownbridge (House of Flamenka) was vital in being able to discern between the different time periods when the ancestors were on stage at the same time. 

I absolutely loved this show because it had so many elements that I love: a women centred narrative, incredible music and talented singers, and queer stories. If you are fan of these things, then I would strongly recommend this musical – run, don’t walk to get tickets! Also, if you are fan of The Curious Case of Benjamin Button, then this is one for you too. Also, a cast recording of Ballad Lines was released in 2025, so you can now listen to the album on your favourite music platform now!

Written by Helena Featherstone