⭐⭐⭐
Rating: 3 out of 5.
‘(Drug) ring a roses is the soundtrack to this promising picket-fenced musical, studded with sixties sisterhood’
The Gardening Club is a lively new musical with plenty of laughs, a strong message and a heart that beats loudly throughout. Set in 1960s Georgia, it tells the story of young women from all walks of life who come together to secretly distribute the then-illegal contraceptive pill under the guise of a gardening society. It’s a premise that allows for both comedy and grit, and the show leans into both.
An original electric pop-rock score drives the action, brimming with energy and sincerity, yet never afraid of a healthy dose of cheese. The production looks smart and cohesive: neat period costumes, kitsch garden fences and office furniture, all arranged with precision to create a stylishly retro world. The compact studio space is used resourcefully, with the 11-strong cast slipping quickly between gardens, pharmacies and the bustling newsroom of the local paper, ensuring the action always feels alive.
Several performances stand out. Hannah Greensmith gives a well-developed and compelling turn as Sheila, confidently balancing sensitivity with strength and delivering assured vocals. Emma Wallace shines as Phoebe, treading the line between comedy and sincerity with finesse. Ensemble member Callum Bultitude deserves special mention for his sharp, precise movement and constant attention to detail. The male cast members sing impressively too, though their characters are deliberately thinly drawn — stock figures who embody the oppressive patriarchy that the women must resist.
While the subject matter is serious, comedy is never far away. Tangled phone wires, conspiratorial glances and even a game of piggy in the middle with pill-filled seed bags provide moments of physical humour that land well. At times, the tonal shifts between lightness and darkness feel abrupt, with comedy and menace placed side by side a little too sharply. The cast also lean heavily on direct engagement with the audience, which often works, though occasionally they seem more attuned to us than to each other.
What emerges, however, is an uplifting call to action that grows in power as the show goes on. Reminiscent of Made in Dagenham, the message of resistance and solidarity pulses through the production. With an extra injection of pace and polish, The Gardening Club could move to the next level, but even as it stands it is entertaining, spirited and inspiring theatre.
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