To Kill a Mockingbird and Twelve Angry Men, amongst others, are referenced in the show’s programme as “classic literary works that have challenged inequality and inspired generations”, and the courtroom proceedings here are clearly influenced by the American court system. In England and Wales, ‘objections’ wouldn’t be ‘sustained’ or ‘overruled’ – because there are more restrained ways of challenging something in court. Lots of other Americanisms creep into court scenes presented in this production. According to Emily Bolton, an American lawyer who has worked in London for some years, assumptions that English courts operate similarly to American ones arise for one reason, and one reason only. It comes from what people in Britain (and indeed elsewhere) “have seen happen in American courtrooms on streaming services”.
That said, the point is sufficiently made that there is a miscarriage of justice against Theo Rookeley Snr (Shiloh Maersk), who is wrongly convicted of crimes against the person. What he was precisely found guilty of seemed unclear to me. The specific charges could have been made more explicit, as they would have been in an actual court on either side of the Atlantic. The events that eventually led to his arrest are nuanced and intriguing, which included a case of domestic violence (nothing to do with Theo) and cries for help from the victim.
The 1950s London setting, where tensions were running high, thanks at least in part to organisations such as the White Defence League, which eventually became the National Front, lends itself to acts of violence and use of force. The worst incidents, however, as the programme puts it, “take place off stage or in darkness”, such that there is a disproportionate amount of exposition. A subplot about a ‘community carnival’ effectively takes over much of the stagecraft – rather than get bogged down in the technicalities of planning such a large-scale event, which wouldn’t, admittedly, make for riveting theatre – the emphasis is on the festivities themselves. This, in turn, gives the typically supersized Chickenshed cast (I counted 197 names in the full list in the show’s programme on the Tube home) a key role in the form of song and dance at various points during the performance.
This all results in a paradox as the audience witnesses some impressive choreography against a backdrop of people living in fear and anxiety. Such is the nature of the storyline, with lawyers Isaac Shawcross (Jonny Morton) and Iris Freitas (Cara McInanny) beavering away at all hours to defend their legal aid clients, that it was difficult to fully appreciate the high tempo songs in a similar manner to how one might do so when watching a light-hearted musical (this show, for the record, was a play with songs).
Some of the songs are insightful – one about legal aid, for example, called, funnily enough, ‘Legal Aid’, explains exactly who qualifies for it and what it is for, and so on, concisely and yet comprehensively. A couple of others, however, come across as filler, and the show could have reached its crescendo a little faster and with more intensity, without them. A mixed bag of emotions and sentiments meant the show was pulling in different directions at once. Still, there’s no doubting the efforts made to bring this story to the stage, and this production’s messages of collaboration and standing strong together through times of adversity are much needed in our troubled times.
Review by Chris Omaweng
A powerful story of courage, community, and the fight to be heard – inspired by real events of the time.
London, middle of the 20th century as the streets of Forest Hill erupts with unrest, Teddy Boy gangs and police clash with Black and mixed-race families in a city divided by fear and prejudice. Yet amid the turmoil, a group of families from across the community dream of creating a Community Carnival – a celebration of unity and hope in the face of hate and the first one of its kind.
CORE CAST
Jackson Shawcross – Felix Figgis
Theo Rookeley Junior – Ajani Onaolapo
Zeeko Freitas – Skye Bossisse / Kayla James
Romy Shawcross – Louie Lyons / Karl Leyens
Diello Taylor – Kailee Fisher
Don Taylor – Thomas Pope
Isaac Shawcross – Jonny Morton
Iris Freitas – Cara McInanny
Theo Rookeley Senior – Shiloh Maersk
Helen Rookeley – Lucina Rigobert
Boyd Slowley – Reuben Hutchinson
Bro Boyd – Aaron Haig
Sir Osmos Floozeley – Alex Brennan
Mrs Dawson – Lauren Cambridge
Mr Rob Awol – Jimmy Adamou
Madeline Awol – Tilly Morton
Court Judge – Tristan Manzi
Jury Foreman – Emmett Ford
Granny Awol – Christina Linsey
Aunty A / Court Prosecutor – Sarah Driver
Court Prosecutor 2 – Salas Yahia-Messaoud
Liz R Jones – Rey Agugua
Teacher – Milo Peskin
Peter Rackman – Alex Tyler
Police 1 – Daniel Pramatarov
Police 2 – Matthew Brennan
Police 3 – Jack Wayne
CREATIVE TEAM
Director – Bethany Hamlin
Assistant Director – Michael Bossisse
Music – Phil Haines, Cara McInanny
Lyrics – Jimmy Adamou, Alex Brennan, Cara McInanny, Paul Morrall, Sebastian Ross
Core Creative Team – Michael Bossisse, Phil Haines, Bethany Hamlin, Cara McInanny, Paul Morrall, Jonny Morton, Sebastian Ross
Creative Directors – Jimmy Adamou, Lucy-Mae Beacock, Michael Bossisse, Courtney Dayes, Georgie Jacobs, Demar Lambert, Shiloh Maersk, Cara McInanny, Gemilla Shamruk, Robin Shillinglaw
Script – Paul Morrall, Sebastian Ross
Set & Lighting Design – Andrew Caddies
Sound Design – Phil Haines
Animation Design – Davies Ohemeng
Costume Design – Emma Gale
Project Manager & Vocal Delivery – Fiona Carey
THE WRONG THEY KNEW
Chickenshed Theatre
5 to 28 March 2026
