Southwark Playhouse has long been a haven for innovative and thought-provoking productions. Its latest offering, Land of the Free, dives into the tumultuous waters of American history, exploring themes of political violence and personal ambition through the lens of one of its most infamous figures: John Wilkes Booth. This production not only entertains but also provokes critical thought about the cyclical nature of violence in politics — a topic that feels increasingly relevant today (with that picture of Donald Trump raising his fist after being shot hung prominently by the side of the stage, just in case anyone misses the point).
Land of the Free centers around John Wilkes Booth, the man who assassinated President Abraham Lincoln. The narrative unfolds in a series of flashbacks, weaving together Booth’s motivations with his complex relationships, particularly with his family and fellow actors. As Booth grapples with his desire for fame and his deep-seated beliefs about freedom and tyranny, you are drawn into a world where personal ambition collides with historical consequence. The play explores Booth’s psyche, revealing a man torn between his aspirations and the moral implications of his actions. Throughout the performance, we witness Booth’s transformation from a celebrated actor to a notorious figure in American history, all while contemplating what it truly means to be free.
The performances in Land of the Free are mesmerising. Brandon Bassir, portraying John Wilkes Booth, delivers a nuanced performance that captures the charisma and the inner turmoil of this complex character. His ability to oscillate between charm and menace keeps you on the on edge, making Booth an oddly sympathetic figure despite his heinous actions.
Standout moments include a poignant scene where Booth reflects on his childhood, revealing layers of vulnerability that humanise him. Bassir’s emotional range is impressive; he conveys anger, desperation, and even moments of joy with equal conviction.
Equally commendable is Natalie Law, playing Booth’s love interest, whose portrayal adds depth to Booth’s character. She embodies strength and tenderness, providing a counterbalance to Booth’s volatile nature. Their chemistry is great, particularly in scenes where they discuss their dreams and aspirations—moments that serve as intimate and tragic foreshadowing.
The supporting cast also deserves recognition for their strong performances. Each character contributes to the rich tapestry of Booth’s life, from family members to fellow actors who challenge or enable his ambitions. Their interactions are sharp and engaging, providing comedic relief and dramatic tension throughout the production. Perhaps my favourite was Owen Oakeshott, a hugely underrecognised actor who played (amongst other roles) Booth’s overbearing father, giving a magnificently booming performance of a hammy Shakespearean actor: imagine Brian Blessed on a particularly shouty day.
The direction of Sebastian Armesto is commendable for its ability to maintain a brisk pace while allowing moments of introspection to resonate with you. The director skillfully balances historical context with personal narrative, ensuring that elements are given their due weight without overshadowing each other.
Sound design plays an equally crucial role in setting the tone. The score features haunting melodies that underscore pivotal moments without overwhelming dialogue. I’m a huge fan of American civil war era songs, and many of the classics featured here. Songs like ‘Freedom’s Call’ resonate deeply, encapsulating Booth’s conflicting desires for fame and moral righteousness. ‘Dixie’ was sung as an exposition piece for about 5 minutes with fresh, very funny lyrics which drove the plot forward. The musical elements are woven into the fabric of the narrative rather than feeling tacked on, which elevates the overall experience.
From start to finish, Land of the Free keeps you engaged. While some may find certain themes unsettling or controversial, it is precisely this discomfort that makes Land of the Free an essential viewing experience for those willing to engage with complex moral questions.
If there’s room for improvement, perhaps further development on some secondary characters could enrich the narrative even more; however, this does not detract significantly from what is already a powerful production. Grab your tickets. When I went (21 October), the auditorium was probably at 10% of capacity. Keep those talented actors happy; go and see this excellent show.