GWENDA’S GARAGE

Southwark Playhouse Borough

★★★

“full of fun, fierceness and feminist spirit”

LGBTQIA+ rights are once again under pressure. The London premiere of ‘Gwenda’s Garage’, inspired by the true stories of lesbian car mechanics in Thatcherite Sheffield, couldn’t be more timely. Full of feminist fire and 80s activism, expect grit, heart, and history – though a little elbow grease is needed to be truly track ready.

‘Gwenda’s Garage’ follows a feisty band of lesbian mechanics tired of being shut out of the workforce. They open their own garage, named for racing pioneer, Gwenda Stewart, using it to train and empower other women workers. It also doubles as a hub of activism, confronting myriad issues including Thatcher’s homophobic Section 28. Expect touching tales of lesbian love, Black pride, diverse families, and the right to exist.

Nicky Hallett’s ambitious script tackles homophobia, racism, sexism, activism, and much more, with some sharp dialogue and relatable storytelling. That said, the balance between people and politics feels a little uneven, with characters lacking emotional depth. Some political elements fizzle, and the main one that doesn’t is executed a little clumsily. Carol’s narration could be more consistent, her inner thoughts feeling a little forgotten in places. For a show rooted in activism, it’s surprising the garage’s role in creating women in STEM initiatives is underplayed – it’s an important legacy that deserves stronger integration. Overall, this is a script with promise but in need of work.

Val Regan’s music and lyrics, in collaboration with Nicky Hallett, burst onto the stage. The rousing opener ‘Go with Gwenda’s’ pulses with rich harmonies that set the tone with flair. However, that momentum gets a bit lost. ‘I Want To Be A Mother’ feels a bit like an alto line, and repeated lyrics and melodies feature in several songs, giving the score a work in progress feel. There are welcome nods to 80s genres like rock and ska, but I want even more to bring this decade’s iconic sound to life.

Jelena Budimir’s direction makes imaginative use of the expansive stage, balancing intimacy with scale and cleverly incorporating political activism without feeling didactic. Movement aids storytelling though some moments could do with additional choreography, such as the rather static instrumental section in ‘Family of One’. Set changes generally add to the storytelling, though some in Act 2 feel a little superfluous. With audience on three sides, the blocking occasionally falters, with Carol spending extended periods facing one direction. A touch more spatial awareness could elevate the dynamism of the production.

Callum Macdonald’s lighting design delivers theatrical flair, using a sophisticated overhead rig to fill the space and thoughtfully blending bold and subdued tones to distinguish public from private. Becky Graham’s costume design is solid, with nods to brands like Laura Ashley, though misses some of the vibrancy of the 80s. Joe Dines’ sound design is sharp, with clever use of effects and a tightly cued tech script. However, the mix occasionally overwhelms, drowning out key lyrics. Sarah Booth’s set design gives the feel and scale of a garage, offering a versatile backdrop, though the slow-build car lacks a clear dramatic purpose.

The cast delivers a vibrant ensemble performance, breathing life into diverse characters with warmth and clarity. Their vocal harmonies are particularly strong, blending beautifully to elevate the show’s emotional and musical impact. Georgina Coram brings infectious energy to Feona, portraying a spirited ally with confident stage presence and a strong, expressive singing voice. Sia Kiwa brings a compelling edge to Terry, a rich alto voice adding depth and intensity. Lucy Mackay brings sharp comic timing to Dipstick, injecting the role with playful energy and consistently lifting the mood. Eva Scott’s Carol offers an anchored, controlled presence that contrasts effectively with the surrounding chaos. Nancy Brabin Platt brings sincerity to Bev, grounded in warmth and quiet conviction.

‘Gwenda’s Garage’ is full of fun, fierceness and feminist spirit, offering a vibrant tribute to a lesser-known chapter of LGBTQIA+ history. Though it could benefit from a touch more polish, its heart and ambition shine bright.

GWENDA’S GARAGE

Southwark Playhouse Borough

Reviewed on 4th November 2025

by Hannah Bothelton

Photography by Chris Saunders

Recently reviewed at Southwark Playhouse venues:

WYLD WOMAN: THE LEGEND OF SHY GIRL | ★★★★ | October 2025

HOT MESS | ★★★★★ | October 2025

LIFERS | ★★★ | October 2025

THE CHAOS THAT HAS BEEN AND WILL NO DOUBT RETURN | ★★★★★ | September 2025

THE ANIMATOR | ★★★ | August 2025

BRIXTON CALLING | ★★★★ | July 2025

THE WHITE CHIP | ★★★★ | July 2025

WHO IS CLAUDE CAHUN? | ★★ | June 2025

THIS IS MY FAMILY | ★★½ | May 2025

GWENDA

★★★

“Martin Crimp’s translation faithfully brings out the anarchic poetry of Genet’s language”

Most crime dramas (not that Jean Genet’s “The Maids” can be specifically classified as one) these days tend to start with the crime – usually a murder – and work backwards. What makes Genet’s play stand out from the crowd is the focus on the build-up rather than retrospective investigation. A slightly surreal evolution of events and dialogue that is steeped in invention, make-believe and role play. So much so that it is almost impossible to distinguish reality from fantasy throughout. Ironic, too, in that his flight of fancy is based on the real-life scandal of two sisters who brutally murdered their employer and her daughter.

Genet’s story examines two sisters, Claire and Solange, who fantasise about and act out murdering their mistress. But as soon as the house lights fade, we know we are being played with. The opening dialogue – alternately cruel, sharp and funny – between the ‘Mistress’ and Claire has us making judgements on the dynamic coupling; only to discover that we are in fact watching Claire ‘being’ the Mistress and Solange ‘being’ Claire. This playful doubling and verbal smoke-and-mirrors technique keeps us on our toes, but unfortunately prevents us from caring much for the characters. It is all quite one sided too. The maids get to vocalise their frustrations and overblown sense of oppression, while their mistress has little say of her own. It is hard to sympathise with the extreme emotions and motives on display. Particularly when Carla Harrison-Hodge’s excellent portrayal of the ‘Mistress’ brings out the humour so succinctly. She may be a privileged bully, but we can never believe she has earned her fate.

Under Annie Kershaw’s fast paced direction, the cast are all very watchable indeed as they spiral out of control, losing touch with their own realities. Anna Popplewell, as Solange, is the more unbalanced maid – one minute an ingenue, the next a ruthless martyr. Charlie Oscar gives a strength to the weaker sister that layers more dimensions onto her character than Genet probably intended. Their onstage chemistry is captivating as they pace around each other within the confines of the space. Cat Fuller’s simple but clever set design places the action within the Mistress’ boudoir, presented as a padded cell which further plays with our sense of reality. An oversized mirror lets part of the audience see themselves, while the sisters repeatedly gaze at their own reflections. Perhaps we are being told that they represent us, but if so, it is a concept that is as impossible to grasp as it is to relate to these personalities. Nevertheless, the acting is captivating enough to guide us through Genet’s often esoteric writing. Popplewell’s heightened monologue that brings us to the climax of the piece is a tour de force.

Martin Crimp’s translation faithfully brings out the anarchic poetry of Genet’s language. Yet it is hard to disguise the self-indulgence in the dialogue as it spirals inwards into ever confusing and smaller circles. The text is too successful in its aim to be ambiguous and obscure. It is saved by the trio’s performance, that transforms an extended and directionless game of role play into a dynamic piece of theatre.

GWENDA’S GARAGE

Southwark Playhouse Borough

★★★

“full of fun, fierceness and feminist spirit”

GWENDA’S GARAGE

Southwark Playhouse Borough

Reviewed on 4th November 2025

by Hannah Bothelton

Photography by Chris Saunders

Recently reviewed at Southwark Playhouse venues:

GWENDA

GWENDA

GWENDA

THE MAIDS

Jermyn Street Theatre

★★★

“Martin Crimp’s translation faithfully brings out the anarchic poetry of Genet’s language”

THE MAIDS

Jermyn Street Theatre

Reviewed on 10th January 2025

by Jonathan Evans

Photography by Steve Gregson

Previously reviewed at this venue:

The Maids

Maids

The Maids

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