★★★★☆

This much anticipated concert version of a new British musical premiered at Theatre Royal Drury Lane on 22 August. Originally due to just play one night, a second was added when the first quickly sold out.

For those who haven’t followed the progress of this show, it had its origins in 2019. The shut down of theatres in March 2020 due to the pandemic put everything on hold. However this did allow the show to go through a concept album, a streamed concert, and two workshops, before finally reaching one of the biggest stages in London last night.

Billed by some as the British answer to Hamilton (and you can see why), the plot of Treason involves that story that all British school children are familiar with as the origins of Bonfire Night. However, as I sat watching it I realised that I didn’t know the exact story or how much it was routed in the Catholic/Protestant conflict in England in the early 17th century.

It is for this reason that I was pleased that this concert version incorporated a narrator, played by grime-poet Debris Stevenson, who was also brought on board by writers Ricky Allan and Kieran Lynn, to write the narration. With a staged concert it can be tricky to show the audience the action in the same way so this also helped with that.

Debis Stevenson

There is a real mix of music in this. From rap and hip hop, to swing and more traditional musical theatre, the styles are all there – like Hamilton. Also like Hamilton, the costumes for this (designed by Chris Cope) are a mix of period and modern. The men wore black jeans with period shirts or jackets. The women wore maxi-style dresses (an odd choice, I must admit) with Medici collars. The traditional Elizabethan ruff also appeared, teamed up in some cases with a modern suit. The dancers wore cargo pants with a nod to the period in their tops.

The cast could not really be faulted. Carrie Hope Fletcher starred as Martha Percy, the wife of Thomas Percy (Bradley Jayden) who was one of the Gunpowder Plotters. Her rendition of ‘The Inevitable’ was a particular highlight, performed with such emotion. She really is one of the greatest musical theatre performers of her generation (and I am looking forward to her first venture into plays in October). Bradley Jayden was an equal match for her and their duets were another highlight with perfectly matched voices. With his portrayal of Thomas we saw a man who wanted to be able to practice his faith in the way that he felt he should and felt that he had no option but to go ahead with the plot in order to enact change in the country.

Bradley Jayden and Carrie Hope Fletcher

Daniel Boys was a joy with his rather camp portrayal of King James, determined to do SOMETHING to be remembered for. The only concern I had was that it did once again veer very close to Hamilton territory (King George) rather than being more original. However, it did work. Les Dennis was his advisor Robert Cecil (Lord Privy Seal). A bit shaky at the beginning, he came into his own in Act 2 with the funny ‘Paperwork’ including clever references to his decision to have the state opening of parliament on 5th November – let’s just say that Prime Minister’s and Christmas parties came into it!

Bradley Jayden’s character was just one of the plotters and he was joined by Simon-Anthony Rhoden (Robert Catesby), Waylon Jacobs (Jack Wright) and Adam Pearce (Thomas Wintour). Their voices blended well with some great harmonies. The final principle male was Cedric Neal as the Earl of Northumberland, providing the voice of authority and reason.

Cedric Neal and Carrie Hope Fletcher

In addition to Martha Percy, there were two other named female characters. Dorothy Wright (Emilie Louise Israel), Ursula Ward (Rebecca Lachance). Towards the end of the show the issue of the betrayal of the plotters was raised. An anonymous letter was sent to warn the King of the plot to blow up the Houses of Parliament. The identity of the author was never confirmed, though historians do generally agree on who it was. In this version of the story though, the idea that it could be the wives of the plotters is explored. Taking a slightly feminist turn (with ideas that were reminiscent of Six) the three women discuss how women’s voices are never heard in history, and that they are just left to pick up the pieces from the actions of their men. They decide to use the only weapon they have – a pen. This was an interesting angle to explore – but once again, did have strong Hamilton vibes.

Rebecca Lachance, Carrie Hope Fletcher, and Emma Louise Israel

The main company and ensemble members (Desmonda Cathabel, Sebastian Harwood, Izzy Make, and Jade Oswald) were supported by dancers from the Urdang Academy (Isabel Clifton, Louis Doran, Harrison Elvin, Megan Bryony Gibbs, Jessica Helfgott, Rozz Mbwenbwe, Connor McGwire, Luke O’Neill, Charlie Rowan, and Ebony Roy-Palmer).

The Company

The London Musical Theatre Orchestra (under the direction of Alan Berry) filled the theatre with the orchestrations adding tension at appropriate moments.

So, the big question is, would this work as a full show? After all, we know that after Bonnie and Clyde performed a concert version of the show on the same stage earlier this year, a fully staged version was swiftly announced. I do think that it has the potential to work. The exposition felt a bit over done at times though maybe this would not be needed so much in a fully staged version. I am certainly excited to see what sort of a future it does have and, should a full version emerge, I will be wanting to book a ticket!

Photos © Mark Senior