REVIEW: BURY THE HATCHET @ SOUTHWARK PLAYHOUSE

🎭 Bury the Hatchet

📍 The Little, Southwark Playhouse, 77-85 Newington Causeway, London, SE1 6BD

🗓 Friday 14th August 2026

⭐️ 4 Stars

A KILLER SHOW

Last week London was in the grip of another brutal heatwave, so as I made my way toward Southwark Playhouse Borough, I'll admit I was mostly desperate for their air conditioning to rescue me! Walking into The Little, it was fantastic to see the space completely full up.

BURY THE HATCHET - that's hatchet, not axe! - already had all the ingredients to be exactly my sort of thing. We're talking theatre, combined with live music and a delicious dose of true crime.

Before the show even kicked off, there was a bit of unexpected real-world drama. As I entered the auditorium, the UK Government's Severe Alert started blaring from my phone, and from practically everyone else's around me. Look, anyone who was conscious on Friday will know that you get these alerts three or four times, and my goodness, they are loud! We were all politely asked to switch our phones completely off so as not to disrupt the performance. Naturally, as predicted, one audience member didn't do this, and an alert went off mid-show. The cast handled it absolutely brilliantly, turning it around with quick humour, and they deserve a massive round of applause for keeping the energy completely unbroken.

The show itself takes us back to the infamous 1892 trial of Lizzie Borden, re-examining the legendary axe-murder case through a remarkably unique lens. It's a high-energy mashup where true crime meets courtroom drama meets a full-blown bluegrass folk gig. The script by Sasha Wilson is exceptionally strong, effortlessly blending cold historical facts and speculative theories with genuine comedy and deep compassion. The storytelling is incredibly succinct, fast-paced, and brilliantly funny. You can feel that this piece has been put together with an immense amount of love, and it was executed with precision. The piece is almost like a dance, tightly choreographed and sharp. Vicky Moran's direction is utterly sublime.

As for the company, they are simply outstanding. The multi-rolling from this three-person ensemble is nothing short of exceptional as they seamlessly play all the characters between them. What makes it so special is the vibe of seemingly organised chaos that flows through the entire 80 minutes. I adored the way the actors frequently break the fourth wall, stepping completely out of character to bicker, banter, and look bewildered by the bizarre evidence submitted during the actual trial. This also brings the audience into the story, almost as if we are a part of the group trying to solve the case.

There are moments where props are swapped frantically or characters make quick, tongue-in-cheek adjustments, giving it a playful, unpredictable edge. Yet, it is balanced beautifully. The show manages to be delightfully silly and fun without ever crossing the line into cheap panto or end-of-the-pier caricature. It keeps its footing as a sharp, sensitive, and intelligent piece of revisionist history.

Sasha Wilson, Lawrence Boothman, and David Leopold are a phenomenal trio of multi-talented actor-musicians. Looking at them individually, Sasha Wilson anchors the piece with an outstanding performance as Lizzie. Her acting is deeply nuanced, capturing both the dark intrigue of a suspected killer and a compelling sense of modern showmanship. Lawrence Boothman is a complete marvel on the instruments, notably leading the charge on the violin during deliciously absurd renditions of well-known classics. He glides fluidly from narrative duty to high-energy character tracks without a single drop in pace. David Leopold matches that versatility completely, acting as a brilliant comedic foil who openly challenges the narrative theories on stage while treating us to some absolutely flawless musical harmonies. Together, the three of them treat us to a glorious, folksy score performed entirely live, driving the narrative forward with infectious rhythm.

Visually, the set design by Damien Stanton is clever and simple, allowing the performances to take center stage. I absolutely loved the props, which felt wonderfully authentic to the period. In a genius touch, all the props double as evidence items from the trial, and I had a great time noticing that even the cast's musical instruments also had little evidence tags hanging off them!

Now, you know that having studied technical theatre, I'm a bit of a nerd about this aspect of any show, so I have to talk about the production values. The sound design is beautifully crisp and clear, which is vital when you're balancing live instruments and fast dialogue. However, the only real chink in the armour here came from Will Alder's lighting design. Don't get me wrong - it’s not terrible by any means. For the most part, it's highly atmospheric and does a fantastic job building tension when the story calls for it.

The major issue stemmed from a lighting rig positioned at the very back of the stage, pointing directly out into the auditorium. I was sitting in a very central seat, and these lights were left on throughout the entire performance, effectively blinding me. I kept having to take my glasses off and put them back on, trying to figure out if it was better with or without them. It made absolutely no sense to me why they remained on for so long. While they worked to great dramatic effect at the end of specific scenes, they simply didn't need to be used continuously. It felt totally unnecessary and unfortunately distracted from the brilliant action happening on stage. I understand the effect that was trying to be achieved, but there are definitely better ways to do this.

It's a massive shame because the rest of the lighting design is genuinely great. I would still definitely recommend BURY THE HATCHET, and I'd happily return to see it again. However, because the show is presented on a thrust staging layout, my top tip would be to choose a seat on the side rows rather than the centre, hoping the rear lighting doesn't disrupt your experience in the same way. Without that blinding lighting issue, I'd have definitely awarded this stellar production the full five stars.

BURY THE HATCHET continues performances at Southwark Playhouse until Saturday 5th September. CLICK HERE to learn more about the show and to book tickets.

Neill Kovacic-Clarke

All views are my own and I pride myself on being honest, fair, and free from influence. Theatre is subjective and it is important to remember that all views expressed are just those of one reviewer.  

My ticket for this performance of Bury the Hatchet gone was gifted by Southwark Playhouse, who invited me to watch the show in exchange for my honest review. The fact that my ticket was gifted played no part in the content of my review or the star rating given. 

CAST:

Lawrence Boothman; David Leopold; Sasha Wilson

RUNNING TIME (approx):

1 hour 20 minutes, with no interval

CONTENT WARNINGS:

Strong language; Retching noises; Presence of a hatchet and a large syringe; Sexist and homophobic language; Description of violence; Mild gore; Death and murder; Full blackouts; Prolonged bright lights; Loud noises

AGE RECOMMENDATION:

12+

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