Bury the Hatchet
Southwark Playhouse - August & September 2026
“Uncertainty is the perfect breeding ground for myth”
August 4th, 1892. Andrew and Abby Borden are found brutally murdered in their home in Fall River, Massachusetts. Their daughter Lizzie is the prime suspect. The story goes that she wielded the axe that killed them. But can we ever really know the truth?
A lively melding of true crime, courtroom drama and live folk gig, shot through with gallows humour and irreverent commentary, Bury the Hatchet is punctuated with a selection of familiar, foot stomping bluegrass songs, performed live.
Cast:
Sasha Wilson
Lawrence Boothman
David Leopold
Creative Team:
Writer - Sasha Wilson
Director - Vicky Moran
Associate Director - Madelaine Moore
Set Designer - Damien Stanton
Lighting Designer - Will Alder
Costume Designer - Helen Stewart
Design Assistant - Henry Anderson
Lighting Assistant - James Sadler
Costume Assistant - Ella Gridley
Producer - Claire Gilbert for Out of the Forest Theatre
Stage Manager - Zoe MacKinnon
Rehearsal Stage Manager - Sasha Bonner
Production Photographer - Alex Brenner
Reviews
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"Lighting by Will Alder relies heavily on the use of stage spot-lights, with a rack of them shining outwards from the back of the stage. Predominantly white or pink, they mirror Lizzie’s stunning dress by costume designer Helen Stewart, while additional spotlights from above illuminate the characters at key moments in the show. Particularly impactful are the points where Lizzie swings the hatchet, leaving her perfectly silhouetted before being plunged into darkness. It is a simple but highly effective example of how lighting can create genuine stand-out moments of theatrical creativity."
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"Walking into ‘The Little’ at Southwark Playhouse Borough, I was immediately struck by the lighting – not just because it was pink, but because it was incredibly striking. A spotlight shining on a hatchet hanging from the ceiling created a shadow effect on the wall, creating an air of mystery before the show even began"
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"Will Alder’s lighting is particularly impressive. It is clever and ambitious, transforming the space and heightening some of the show’s most dramatic moments. A sequence in which Lizzie suddenly lunges towards the audience with an axe is made considerably more startling by the lighting, giving us a brief flash of theatrical horror."
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"The Little’s intimate space is lit by Will Alder with a bank of white, rose-violet and pink, irradiate set moments of romance/horror, and stark brilliance with nowhere, seemingly, to hide. At other moments there’s snappy horror-snaps to black"
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"The lighting caught my eye from the very beginning, but it only got better and better as the story progressed. The show beautifully weaves in folk music to aid with the storytelling, which is an element of the show I really enjoyed. From sudden blackouts to a beautiful mix of reds, blues, pinks and yellows, the lighting complemented both the story and the music well, creating a really immersive feel for the audience. There’s no denying that this production is incredibly visually and vocally enjoyable to watch. It is lit beautifully by lighting designer Will Alder"
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"Will Alder's lighting design is exquisite, providing a warm glow throughout the plot scenes to highlight the growing tension before immediately undercutting it with the regular colder lights as the cast break out of their roles. The use of spotlights create a doorway into Lizzie's inner world, but it's the impressive use of abrupt blackouts (normally following an act of violence or scream) that really affects the audience."
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"Will Alder's gorgeous lighting is used brilliantly throughout. Starting with hot pink, various different hues are incorporated to stunning effect, producing visually striking images, while the use of bright backlights creates some beautifully eerie shots that are swiftly cut to blackouts before allowing the light to creep back in once more."
