There is an immediate sense of assurance to Ballad Lines, the new folk musical from Finn Anderson and Tania Azevedo, as it settles into Southwark Playhouse Elephant. Developed over several years, first in Scotland under its former title A Mother’s Song, the piece now emerges in London with a thoughtful clarity that honours its roots while widening its reach.
The story unfolds across three centuries, connected by the threads of Scottish, Irish and Appalachian ballads. In present day New York, Sarah and her partner Alix move into a new apartment and discover a box of tapes recorded by Sarah’s late Aunt Betty.
The ballads they contain, songs Sarah grew up hearing, open a door into the lives of two of her ancestors: Jean Blackburn, a spirited teenager, and Cait, a young woman in seventeenth century Scotland.
As their stories intertwine, themes of female agency, motherhood and generational inheritance come to the fore. Nothing feels linear. Instead, the narrative overlaps in a series of vignettes that echo the oral histories passed through families, the kind usually told by an elderly relative whose memories are stitched together by song.
A beautifully crafted score that celebrates its Celtic roots gives the musical its heartbeat. Anderson’s writing is both intricate and inviting, each ballad standing alone yet woven into a wider tapestry. Though steeped in traditional Scottish and Irish influence, the music leans confidently into contemporary musical theatre. This blend gives the production an accessible warmth, reminiscent at times of Come From Away with its rhythmic urgency and community shaped storytelling.
There are moments of tender intimacy alongside rousing ensemble numbers that underscore the show’s questions about identity and legacy. Hearing Scots language threaded through the lyrics adds further richness, especially welcome on a London stage where such dialects remain uncommon.
The cast is uniformly excellent. Frances McNamee brings emotional intelligence and crystalline vocals to Sarah, grounding the modern strand of the story. Rebecca Trehearn is striking as Betty, her voice soaring through the score with effortless authority. Sydney Sainté offers Alix warmth and gentle humour, while Yna Tresvalles is captivating as Jean. The ensemble’s multirolling is deft and precise, ensuring each era feels distinct without fragmentation.
Azevedo’s direction keeps the storytelling fluid, guiding the audience cleanly between centuries. The pacing is well judged, supported by a simple but effective set design that lets the performances and music remain central. A poor seat meant my sightline did not catch everything when the action moved beyond the central space, but what was visible was shaped with clarity and intention.
Ballad Lines feels like a musical with genuine potential. It carries the weight of history without becoming heavy, celebrating the endurance of women’s stories without sentimentality. Most importantly, it sings, with a score that leaves the audience with plenty to reflect on, musically and emotionally.
Listings and ticket information can be found here
