Redcliffe Review: heartache and homosexuality in 18th-century Bristol
- Emma Knott
- 40 minutes ago
- 4 min read
28 May 2026 I 19:00 I Southwark Playhouse Borough (The Large), London
⭐⭐⭐⭐ I PR - Invite
With book, music and lyrics by musical star Jordan Luke Gage (of Bonnie & Clyde and &Juliet fame), I had been eagerly awaiting this premiere following its workshop run last year. Especially as a proud Bristolian myself! Set in the titular district of Bristol, Redcliffe takes audiences back almost three-hundred years to 1752.
The story is based on the true events between William Critchard and Richard Arnold, who fall in love at a time where their relationship was forbidden and punishable by death. Directed by Paul Foster, this new musical plays in London's Southwark Playhouse Borough, presenting a profound and strikingly pertinent piece of theatre.
I am often wary of shows where the star of the production has also written the majority of the material, however it is fair to say that I was not disappointed here. Jordan Luke Gage's talent shines throughout, having crafted a work that feels emotionally authentic and honouring that in his commitment to live performance. Critchard and Arnold's tale has never been told before, drawing from documents preserved in the Bristol Archives and Bristol Museum. Highlighting the homophobic prejudice these two men endured, Redcliffe acts as a reminder of how far society has come, and how far we still have to go.
The musical is very much one of two halves. The first is bright and jovial, at many times laugh-out-loud funny. Lighting designs from Matt Hockley are crucial here, creating warm and vibrant colours that reflect the optimism of early scenes. This contrasts sharply with the second act, becoming sombre and darker in visuals to intensify the emotional weight of the narrative. Such a shift in lighting and atmosphere demonstrates the impact that a single event can have in changing the course of someone's life.
William Critchard, played by Gage, is depicted as a seemingly ordinary 18th-century man, under pressure from his mother (superbly played by Rebecca Lock) to find a wife. Unfortunately, William simply cannot form a connection with the women of Redcliffe and fears there is something different about him. That is until an unfamiliar navy lad Richard (Daniel Krikler) arrives in town, and completely changes his way of thinking. These two principal actors are nothing short of sensational, with incredible chemistry, vocals and emotional resonance. Richard's absence is felt through the second act, though we are reminded that he is away at sea, shaping a vital character change for William.
The ensemble cast are equally phenomenal, playing multiple roles with ease and believability. Melissa Jacques particularly stands out, transforming between a loving family friend, a stern judge in court, and various expressive characters across the show. Each cast member contributes to Redcliffe's vivid, community feel, brilliant in such an immersive auditorium.
Gage's score is magnificent, as he shines through ballads including Void Of Love and I Am Found. There are several sweeping and tragic songs, mostly sitting in the second act. Yet we start with the first act, leading with incredibly upbeat and catchy music from A Million Things I Know, to The Most Amazing Wedding and A Pint Of Four. The latter is performed as a sea shanty-esque number in the pub, really establishing an early carefree and undisturbed nature. Everyone's vocals are strong, notably Rebecca Lock's powerhouse performance in Hurricane. The livelier songs are missed in the second act, which is very doom and gloom, though the artistic difference between the two acts is understandable.
My minor criticism, which comes as no surprise from a Bristolian, is that some of the regional accents waver. However both vocally and dialect-wise, there are moments where I genuinely felt as if I was back home in Bristol. And despite this, the production never loses its genuinity.
Martin Hanly's costume design feels intentionally modern, with characters wearing combat boots, distressed trousers and shirts, and a contemporary dress for William's sister Abigail. Initially, these feel jarring against its 18th-century setting, though perhaps it acts as a deliberate vehicle to emphasise the timelessness of the story and its message. Though no longer in the UK, homosexual relationships in 12 countries are still punishable by the death penalty.
A set design by Andrew Exeter is exquisite in the intimacy of Southwark Playhouse Borough. It is simple yet highly effective, consisting of a wooden stage and shallow pool of water upstage, acting as a river and washing station. Across subtle transitions, it morphs into pubs, family homes, prisons, and eventually gallows. With only a handful of props, its minimalism proves to be more tender than an elaborate staging.
As Jordan Luke Gage's musical writing debut, Redcliffe is triumphant as a beautifully curated show that holds historical and contemporary importance, to balance humour, romance and heartbreak with remarkable care. With an exceptional cast, soaring vocals and thoughtful design choices, it leaves a lasting impact long after the curtain call. As a Bristolian, seeing this hidden piece of history brought to life feels incredibly special, deserving recognition for telling an untold story and reminding audiences why it still needs to be told.
Playing at London's Southwark Playhouse Borough (The Large) until 4th July: https://southwarkplayhouse.co.uk/productions/redcliffe/
