THE GARDENING CLUB
New Wimbledon Theatre
★★★½
“sharp writing, a smart score, and feminist ferocity”
Sexual health has never mattered more, as women’s rights face renewed global scrutiny. Enter ‘The Gardening Club’, an important, unfiltered and unflinching take on women’s health. Though much like the fight for female reproductive rights, the story feels unfinished.
Loosely based on true events, ‘The Gardening Club’ opens in 1960s Savannah, Georgia. It follows five unlikely friends: Phoebe, a journalist fighting for respect; Betty, a nurse torn between legal restrictions and her patients; Sheila, a housewife struggling to connect with her career-driven husband, Cliff; and Maggie and Vicki, two sisters in different places with their sexuality. They defy state regulations by covertly distributing the newly available but heavily restricted birth control pill. Will this clandestine cartel succeed in safeguarding women’s rights, or face criminal charges? See it and find out!
Carleigh McRitchie and Bella Wright’s debut musical bursts onto the London scene with sharp writing, a smart score, and feminist ferocity. A musical with a manifesto, previews coincide with Sexual Health Week and condoms are freely available – genius! The writing is satisfyingly ambitious, covering tricky topics with consideration and flair. The spotlight’s fiercely female, with five powerhouse parts. It doesn’t ignore the men, swapping common ‘60s tropes for surprisingly sweet characters. That said, this promising book needs work. The club folds rather abruptly, turning its attention to termination of pregnancy which needs a stronger arc. More relationship building is needed before the women agree to commit a felony together. Sheila and Cliff are the most fleshed out characters, their vulnerability and struggle resonating deeply. Others feel underdeveloped: Phoebe could do with more soul, and Maggie’s arc fizzles out. With a little extra work, this punchy new musical could be a knockout.
The modern, pop-rock score is witty and wicked. ‘Edging to Heaven’ shares the women’s sexual woes before cutting out at the climax (hahahaha). ‘Betty’s Happy Ending’ has you laughing and cheering in equal measure. There are sweepingly tender numbers and delicious harmonies, such as ‘Til Death Do Us Part’ and ‘Someday’. Interestingly, the opener ‘Watch Me Grow’ feels flat on first pass, lacking the punch of later songs; happily, its finale reprise lands with the weight and gusto it deserves. The audience thoroughly enjoys the modern flavour, bopping and whooping along. Weaving some of its modernity into the design would really elevate it.
Tara Noonan’s direction sparkles, featuring snappy insights, slick transitions, creative staging and a final scene that flips the script and makes the audience active players. Though not everyone gets a leaflet, denying some the powerfully meta moment. Aimee Leigh’s choreography pops with wit and energy, blending seamlessly with each scene. The recurring theme of men intruding into female spaces lands with weight, though you could argue sexy women and punchy men is a little on the nose.
Evie Jones’ clever set design effectively evokes both garden and office without getting in each other’s way. Thea Bulgin’s vibrant, dynamic and mischievous lighting design tells the story with cheeky flair. Zain Hamad’s sound design feels a little unbalanced in the musical numbers, losing lyrics through overly loud backing tracks and non-singing dialogue lacking amplification. Shannon Blackwood’s costume design is beautiful, perfectly reflecting each character’s individuality; though Georgia is probably too hot for leather jackets and aprons aren’t outerwear. Hair and makeup adds further character insights while remaining period appropriate.
The cast is strong, with standout performances from Hannah Greensmith’s Sheila and Olivia Taylor Quinn’s Betty. Greensmith lends a cautious vulnerability to Sheila before blooming completely. Taylor Quinn’s knockout vocals bring the house down, balancing rawness with expressivity and precision. Emma Wallace’s Phoebe is gutsy and endearing, though needs a little more material. Emma Espada’s Maggie epitomises a fierce modern woman, but needs tighter breath control to carry every heartbreaking note to the audience.
‘The Gardening Club’ is sultry, sharp, and strikingly on-point. Though needing development in places, McRitchie and Wright have a bright future ahead and I urge musical theatre fans to join the club while you can!
THE GARDENING CLUB
New Wimbledon Theatre
Reviewed on 22nd September 2025
by Hannah Bothelton
Photography by Rachel Knudson
Previously reviewed at this venue:
HIJINKS & CAVIAR | ★★ | October 2024
PLEADING STUPIDITY | ★★★ | October 2024
AN OFFICER AND A GENTLEMAN | ★★ | April 2024
