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

★★★

“the evening becomes muddled when Music Hall and Musical Theatre seem to pitch battle against each other”

You can see why Lil Warren, the writer and creator behind “Oranges and Elephants”, fell in love with Hoxton Hall. Restored to its former glory it seems to bring history to life the moment you walk in. The perfect setting, then, for her new musical about rival Victorian gangs and their links to London’s Music Hall world.

Impeccably researched (Warren is an East End girl herself) it focuses on two all-female street gangs: the ‘Elephants’ and the more psychotic ‘Oranges’. We are at the tail end of a long running feud as they battle against their wits, each other, and extinction. The all female cast, far from being a modern day, buzz worthy contrivance, pinpoints the historical truth that this underworld wasn’t just the preserve of men. This is a story of how important your wits are to survive if you are poor and a woman in Victorian London. But gender aside, it is difficult to believe in the characters’ desperation and fear when they often drift into caricature.

The evening is presided over by the ringmaster figure of Susannah van den Berg who narrates with equal measures of gusto and smut, getting the audience firmly on her side. She leads us through the streets of London, and through the action. Into the midst of the gang warfare, the ingénue (but don’t be fooled by appearances) runaway Mary wanders. She wants to be a Music Hall star, while the leaders of the two gangs both want to ‘own’ her. Mary is initially ensnared by Flo (a convincingly cutthroat Kate Adams), the leader of the ‘Oranges’, until Nellie of the ‘Elephants’ falls in love with her and they try to escape from thievery to the bright lights of Piccadilly.

Although concisely conveyed, the evening becomes muddled when Music Hall and Musical Theatre seem to pitch battle against each other, and the strength of the narrative gets lost in the scuffle. That said, the level of musicianship is consistently excellent and there are some very memorable and outstanding numbers in Jo Collins’ score. Liz Kitchen’s Sondheimesque solo to name one, along with a fierce revenge ballad superbly delivered by the charismatic Rebecca Bainbridge. But the stars of the show are undoubtedly the multi-talented Christina Tedders who plays Nellie, and Sinead Long (the runaway Mary). It is no surprise to see them share a heart-wrenching duet before tragedy strikes. Tedders’ virtuosity on the violin is matched by her singing voice, while Long has star quality written all over her.

At over two hours this is initially a slow burner that does eventually win you over. With a bit of pruning it could make its job that much easier. Yes – it is the perfect musical for Hoxton Hall – but, like the characters within it, it might find it a struggle to outreach its life expectancy if it strays from its home turf. I’d like to think it has a long and healthy life, and if it can adapt and survive, it deserves to find a wider audience out there.

Reviewed by Jonathan Evans

Photography by Sharron Wallace

Tag Archives: Liz Kitchen

GWENDA’S GARAGE

★★★

Southwark Playhouse Borough

GWENDA’S GARAGE

Southwark Playhouse Borough

★★★

“full of fun, fierceness and feminist spirit”