Picture: Danny Kaan
Treason The Musical continues at Alexandra Palace, London until 18 November 2023 before playing at the London Palladium from 21-22 November.
Star rating: four stars ★ ★ ★ ★ ✩
Ricky Allan’s Treason is often referred to as the “British Hamilton”, these comparisons are understandable; the historical plot in 1605 to blow up the Houses of Parliament, remembered every year on 5 November, is an extraordinary, very British story. This much-anticipated production, directed by Hannah Chissick, really delivers a completely original piece of musical theatre. The diverse, stellar cast delivers powerful, heart-rending performances throughout with a wonderfully energetic ensemble which keeps up the pace and pathos throughout.
The show begins with a joyous secret wedding celebration between Thomas Percy (Sam Ferriday) and his wife Martha (Nicole Raquel Dennis) and follows their story of Catholic suppression during the religious unrest at the start of King James’ reign. The menacing undertone of discord is never far away. We are led to believe that Guy Fawkes (Gabriel Akamo) is merely an observing narrator, dark and menacing, and not one of the original conspirators.
The show is filled with more songs than story and this works in its favour as it is arguably the strength of the production. When the piece was originally conceived as a five-track EP back in November 2020 it started attracting a huge fan base and it is these songs and more that have become pivotal to the show’s success, driving the performances even when the plot itself is weak.
Particular standout songs include the passionate ‘More Than I Am’ which runs throughout to present Thomas’ need to prove himself and ‘The Inevitable’ which is spine-chilling as Martha describes her worst fears coming true. The performers’ magnificent voices are perfectly combined in duets featuring truly outstanding harmonies.
Raquel Dennis is stunning as Martha. Their voice entrances the audience with their power, delicacy and control. Their portrayal of a fierce, loving and moral woman is beautiful. Paired with Emilie Louise Israel as Martha’s close friend Anne, they perform a series of wonderful ballads.
Ferriday is stellar as Thomas, showcasing a magnificent voice and demonstrating great character development from a loving, young man committed to his family to a ruthless conspirator who loses his way and morality completely.
Connor Jones as Catesby performs a jaw-dropping number as the plot reaches its climax and his passions erupt. Alfie Richards gives a great performance as Robin Wintour.
Oscar Conlon-Morrey plays the toffee-nosed, sarcastic Robert Cecil, pulling the self-obsessed King James’ (Joe McFadden) strings. McFadden’s King is at first an ineffectual foppish, petulant child, unpredictable and comic, persecuting anyone who fails to impress him.
Clothed in grubby corsetry and britches of the under-classes, the enigmatic ensemble is fundamental in this production, creating the ‘eyes’ lurking in every corner, beautifully choreographed by Taylor Walker in hip-hop lyrical style. Their presence is all around, but especially captivating in the black magic smoke-blowing scenes around King James, as he descends into madness over demonology, and again in their comical mermaid performance.
Although the story follows the ‘most infamous daring plot in history’, it lacks depth and drama and peripheral cohesion; the Thames scenes and the digging of a tunnel are effective but fail to evoke just how high the stakes are as the conspirators get closer to reaching their goal.
The foreboding, moody atmosphere throughout is a credit to the immense talent of the lighting by Jason Taylor, set by Philip Whitcomb and sound by Tom Marshall. The dramatic stage sets are striking with intricate huge wooden doors and slatted panels cleverly defining the era. Ecclesiastical candlelight and haunting imagery evoke the constant feeling of unease and panic, heightened by the ticking clock proceeding every scene.
The final speech as Guy Fawkes is burned at the stake is hugely impactful as he describes the tyranny of the monarch’s use of him to condemn Catholicism and to forever remember the punishment for attempted regicide.
The decaying grandeur of Alexandra Palace is the perfect foil for such a beautiful staging. If you like fierce and fiery historical productions that have a contemporary twist and feature an outstanding soundtrack, then this is for you.
Marina Holmes Smith
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