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

GWENDA

Dead & Breathing

Albany Theatre

Reviewed – 21st February 2018

★★★

“has a few twists and turns that lay open the divides between rich and poor, happiness and sadness, and belonging and rejection”

I just realised that I’ve only ever seen children’s shows at the Albany Theatre. It has always been brilliant but not exactly a grown-up experience. Walking into this theatre bereft of noisy, excited kids, seemed a little strange at first, but then I got my first view of the set …

The ‘apartment’ in front of me was beautifully put together (by Sarah Booth) with a clever selection of furniture which kept the set simple but exuding luxury at the same time. It was a sumptuous setting for the spoilt, ill and aging Carolyn to wait impatiently to die whilst being nursed by her newest in a long line of verbally abused carers, Veronika.

Jaded and cranky Carolyn is used to getting her own way and desperate for a quick demise. She will try every way she can to convince those sent to help her of her right to choose her own exit time and place. The determined and devoutly Christian Veronika wants to make her client’s last months, as peaceful and comfortable as possible, she’s certain that Carolyn’s passing is the decision of a higher being than themselves.

Equally resolute in their views, they tolerate each other with a grudging respect until a proposition is posed and a dilemma appears. What exactly will it take for Carolyn to convince Veronika to assist her in a suicide?

Two brave performances from Lizan Mitchell as Carolyn and Kim Tatum as her carer make this very sharp and funny script from Chisa Hutchinson come alive. The catty remarks, the sarcastic wit, and their mutual love of colourful language keep you wondering whether Carolyn’s last wish will ever be fulfilled.

Lizan Mitchell gives an easy performance with a confidence which Kim Tatum doesn’t quite match. Yet as the tale of these two very different lives unfolds, revealing a gulf in humanity and acceptance, the performance style is absorbed into the plot, and doesn’t distract from the story.

The play even manages to claw back momentum after an extended silent scene a little over half way through, thanks to the performances of these two women glaring at each other across the stage, and a revelation that may change everything.

Thought provoking in so many more ways than expected, Dead & Breathing has a few twists and turns that lay open the divides between rich and poor, happiness and sadness, and belonging and rejection.

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

Dead & Breathing

Albany Theatre

Reviewed – 21st February 2018

★★★

“has a few twists and turns that lay open the divides between rich and poor, happiness and sadness, and belonging and rejection”

I just realised that I’ve only ever seen children’s shows at the Albany Theatre. It has always been brilliant but not exactly a grown-up experience. Walking into this theatre bereft of noisy, excited kids, seemed a little strange at first, but then I got my first view of the set …

Equally resolute in their views, they tolerate each other with a grudging respect until a proposition is posed and a dilemma appears. What exactly will it take for Carolyn to convince Veronika to assist her in a suicide?

Lizan Mitchell gives an easy performance with a confidence which Kim Tatum doesn’t quite match. Yet as the tale of these two very different lives unfolds, revealing a gulf in humanity and acceptance, the performance style is absorbed into the plot, and doesn’t distract from the story.

The play even manages to claw back momentum after an extended silent scene a little over half way through, thanks to the performances of these two women glaring at each other across the stage, and a revelation that may change everything.

Thought provoking in so many more ways than expected, Dead & Breathing has a few twists and turns that lay open the divides between rich and poor, happiness and sadness, and belonging and rejection.

A very enjoyable evening that generated a buzz in the foyer as the audience departed. I look forward to more from this playwright.

Reviewed by Joanna Hinson

Photography by Alex Beckett

Dead & Breathing

Albany Theatre until 3rd March

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