The new musical now playing at the Meridian Theatre in London is a tender, often funny look at how families bury the truth. Running approximately two hours and twenty minutes, including a twenty-minute interval, it tells the story of three siblings who return to their childhood home after their mother's death. What they find in a locked drawer changes everything. The show has a warm score, sharp lyrics, and two lead performances that feel genuinely heartfelt. Some subplots, however, never quite take flight. Here is what you need to know before you book.
The plot unfolds over a single weekend. Ruth (Marianne Fletcher) is the eldest, a practical nurse who has stayed close to home. Michael (Daniel Okafor) is the middle child, a successful but emotionally distant architect. The youngest, a sister named Claire, is mentioned but never appears – a choice that works better in theory than in practice. When Ruth discovers a bundle of unopened letters, the siblings are forced to confront their mother's hidden past. The musical handles the reveal with care, letting the audience piece things together alongside the characters. The reconciliation that follows is not easy or neat, which is its greatest strength. You believe these people might repair their relationship, but you also see how much work it will take.
The score, played by a five-piece band tucked behind the set, is folk-inflected and generous. Piano and strings dominate, with a cello line that underscores the more painful moments without ever becoming saccharine. The lyrics are where the show truly shines. They are specific and surprising, finding rhymes that make you smile even as your eyes sting. A song about dividing up a house full of objects – "Who Gets the Clock?" – is a particular highlight, managing to be both hilarious and heartbreaking. The Act II ballad "What We Buried" stops the show, and rightly so. The music does not push you towards tears; it simply holds the space for them.
Fletcher and Okafor are the reason this musical works. Fletcher gives Ruth a quiet stubbornness that slowly cracks open. Her voice is warm and unshowy, perfect for the folk-tinged score. Okafor's Michael could easily be a cliché – the absent brother who returns – but he finds the fear beneath the arrogance. Their scenes together crackle with unspoken history. The supporting cast is strong, particularly the actor playing the family friend who keeps dropping by with casseroles. However, some characters feel like sketches. The neighbour's daughter, who appears in the second act, seems to exist only to deliver a plot point. You wish she had been given a song of her own.
For all its warmth, the musical has pacing issues. The first act takes its time, which is fine, but the second act rushes towards its resolution. A subplot about Michael's business partner back in the city is introduced late and resolved with a single line of dialogue. Another thread – Ruth's strained relationship with her own teenage son – is mentioned but never explored. These gaps leave you wanting more, but not always in a good way. The show might benefit from ten more minutes and one fewer character. Still, these are the stumbles of ambition, not laziness. The heart of the story remains clear and compelling.
The musical runs for two hours and twenty minutes, including one interval. The Meridian Theatre is a small venue, so every seat feels close to the action. Here are a few practical notes:
The show is not perfect. The underdeveloped subplots leave a few loose threads, and the second act could breathe more. But the performances are heartfelt, the score is warm, and the lyrics are sharp enough to stick with you on the Tube home. For a new musical exploring family secrets, that is more than enough reason to book a ticket.
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