It would be easy for this new debut musical – with book, music and lyrics by Jordan Luke Gage – to settle for just being a worthy affair. Happy tales about gay men in the 18th century are rare and this Bristol-based true story is no exception. As reclaimed history, it is emotional and moving. Yet the best part of Gage’s achievement are the moments of joy he provides and how he has made the show surprisingly funny.
Redcliffe is serious stuff. The action opens as two men are hanged for being homosexual. We all know where this story is going. There are songs about religion and mob mentality that add tension and make the most of the strong ensemble as a chorus. Our hero William, performed by Gage, has plenty of guilt. His lover Richard, the role taken by the excellent Daniel Krikler, has previous knowledge of how dangerous their affair is.
Gage clearly acknowledges that two hours of misery would be tough going, so his excellent book provides romance and comedy. Richard and William are swoon-worthy; the song ‘A Million Things I Know’ is funny and flirty. Not surprisingly, Gage’s romantic ballads suit his voice fantastically. There are great comic numbers, too, for Richard’s larger-than-life mother and sister – well performed by Rebecca Lock and Jess Douglas Welsh. Tilting the pressure Richard feels over getting married towards comedy is handled well, and providing strong female roles in a piece focusing on two men is refreshing.
It is the mix that makes Redcliffe musically exciting. Gage has written an accomplished collection of songs and, while they might coalesce more, there are plenty of memorable numbers here. The production serves the show well, with strong, detailed direction from Paul Foster. Emma Woods’ choreography impresses, utilising the ensemble to suggest a close community (for both good and bad). Andrew Exeter’s set works well without overpowering the action, but I am afraid I found Martin Hanly’s adventurous costume design distracting and confusing.
The second act is, predictably, grim. And it overreaches, slightly. Some of the prison scenes falter and Richard’s family’s acceptance is stirring (Lock gets a cracking number here) but too speedy. Gage’s wish to make martyrs of the men is a little too apparent (an apotheosis is a long way to travel). But perhaps that’s my cynicism. Newspapers reported that the couple kissed on the way to their execution. I can imagine Gage’s goose bumps as he read that. By the end of the show, the audience shares them.
Until 4 July 2026
Photo by Pamela Raith