Ballad Lines review: A muddled musical with moments of brilliance

In a world where diversity and inclusivity are becoming increasingly important, it is refreshing to see art that celebrates and embraces the differences among us. Ballad Lines, a new play by playwright and director, Sarah Rutherford, does just that. It takes us on a journey through time and space, bringing together three women from vastly different backgrounds and experiences. A Jacobean vicar’s wife, a pregnant Presbyterian teen, and a 21st-century New York lesbian all walk into a bar – and the result is a beautiful and thought-provoking piece of theatre.

Set in a small pub in present-day London, Ballad Lines follows the lives of these three women as they share their stories with each other. We meet Mary, the Jacobean vicar’s wife, who is struggling with her role as a woman in a male-dominated society. She longs for more freedom and independence, but is bound by the expectations of her time. Then there is Sarah, a pregnant teen from a strict Presbyterian family, who is facing the challenges of being a young mother while still trying to understand her own identity. And finally, there is Jo, a successful lawyer from New York, who is grappling with her own sexuality and the pressure to conform to societal norms.

What makes Ballad Lines unique is the way it weaves together these three different stories and connects them through the power of music. Each woman shares her own ballad, a traditional form of storytelling through song, which not only reveals their innermost thoughts and struggles but also creates a sense of unity between them. The music, composed by Heather Christian, is hauntingly beautiful and adds depth and emotion to the play.

One of the most striking aspects of Ballad Lines is how it tackles important and relevant issues in a sensitive and nuanced manner. The play explores themes of gender roles, sexuality, and motherhood, and does so without being preachy or judgmental. It allows the audience to see these complex issues from different perspectives and encourages empathy and understanding.

But what truly makes Ballad Lines a must-see is the exceptional performances by the three actresses – Siobhan Redmond as Mary, Lauryn Redding as Sarah, and Emily Burnett as Jo. Each of them brings their character to life with such authenticity and vulnerability that it is impossible not to be moved by their stories. They effortlessly switch between different time periods and accents, showcasing their talent and versatility as actors.

In addition to the powerful performances, the set design and direction by Sarah Rutherford and Jessica Lazar are also worth mentioning. The stage is transformed into a traditional pub, complete with bar stools, a dartboard, and a jukebox. The audience feels like they are part of the action, sitting at the bar alongside the characters. The direction is seamless, with the actors moving effortlessly around the stage, creating a dynamic and engaging experience for the audience.

Ballad Lines is a testament to the power of storytelling and its ability to transcend time and place. It is a reminder that, despite our differences, we all share a common humanity. The play challenges us to look beyond stereotypes and see the person behind the label. It celebrates diversity and encourages us to embrace our unique identities.

In a world where division and intolerance seem to be on the rise, Ballad Lines is a breath of fresh air. It is a reminder that, no matter how different we may seem, we are all connected by our shared experiences and emotions. It is a play that will make you laugh, cry, and reflect on what it means to be human. So, if you have the chance, make sure to catch Ballad Lines – it is an experience you won’t soon forget.