Theatre Review Bloody Mary and The Nine Day Queen Union Theatre London

I was so excited to see the world premiere of Bloody Mary and the Nine Day Queen. As one of the biggest Tudor history fans, I know this period inside and out. What this production did so brilliantly was make me reflect on new dimensions and consequences of what happened to the tragic Lady Jane Grey.

“Bloody Mary,” the daughter of Henry VIII, who had witnessed her mother’s suffering at his hands, emerges here as a deeply troubled and bitter queen. Jane Grey, by contrast, is portrayed as a pawn on the chessboard of the English throne—manipulated by noble families jockeying for power during a time of great instability. It’s important to remember that there were two queens in play.

The show opens with the young King Edward on his deathbed. An ensemble cast of two women and three men sets the tone with a stunning harmony in the opening number, “Our Lady Jane.” From there, it’s one knockout song after another.

Gareth Hindes has created an outstanding new musical that feels destined for the West End. Debuting in Southwark—just a stone’s throw from London’s major venues—was a clever move. I can easily imagine Bloody Mary and the Nine Day Queen expanding with a few tweaks and additional cast members to captivate larger audiences. I believe American audiences and tourists will embrace it with enthusiasm.

The cast’s vocal performances were superb—so much so that it’s hard to single anyone out. That said, the two queens were exceptional. 

1. Cezarah Bonner’s Bloody Mary was fierce, regal, and indomitable. Her stage presence was magnetic—she swept onto the stage with the authority of a true monarch, and her powerful voice embodied her character’s gravitas. Anna Unwin, who also co-created the show, portrayed Lady Jane Grey with a beautiful blend of innocence and strength. Her angelic voice and heartfelt performance made Jane’s tragic journey all the more poignant. As a seventeen-year-old girl thrust into a role she didn’t choose, Jane is shown here as someone who knew her own mind and was willing to die for her beliefs.

The supporting male cast added depth and dimension. Constantine Andronikou brought a touch of humour and a commanding voice to the role of the Duke of Northumberland, King Edward’s regent and a master manipulator in the political game. King Edward himself was cleverly represented by a puppet—created by Picture to Puppet—which was a brilliant and beautifully executed idea. Johnnie Benson portrayed Guildford Dudley, Jane’s husband, with emotional resonance. Artistic licence allows us to believe in their deep connection, and their duet “Faithful” was a standout moment—poetic, moving, and beautifully performed. Gareth Hindes, te show’s creator, also took on the roles of Jane’s father, the scheming Henry Grey, and Father John Feckenham, delivering both with a distinctive and resonant voice.

The harmonies throughout were rich and seamless, a true pleasure to hear. The small three-piece band was top-notch, and I found myself particularly drawn to the percussionist, whose contributions added so much texture to the performance. The lighting design was another highlight—subtle yet powerful, it created tension and emotion on an otherwise stark stage. The red lighting during the execution scenes evoked bloodshed without the need for graphic props—a masterstroke of theatrical suggestion.

If I had one minor qualm, it would be the length—it ran a little long, but with so many strong musical numbers, it’s understandable.

All in all, this is a remarkable production. I feel privileged to have seen it in its earliest incarnation. Bloody Mary and the Nine Day Queen is a bold, moving, and musically rich show that deserves to be seen by a wide audience. I have no doubt it’s on its way to becoming a major success.

Bloody Mary and the Nine Day at Queen Union Theatre London runs from 21st-29th October 2025.

Reviewer - Penny Curran

On - 24th October 2025