Review: Ellie MacPherson: Babe Lincoln

In a confessional and emotional finale, Ellie MacPherson suggests that Abraham Lincoln represents a North American politician who might rescue the USA from its current chaos: the comparisons with Trump are implicit in her retelling of Lincoln’s early life. Yet despite boasting of the many books that she has read, MacPherson is never quite able to press the point, with the meaning of the Great Emancipator’s struggles, financially, romantically and politically, being little more than routines to introduce tangentially relevant musical numbers.

MacPherson works the audience well and her voice has the power of a musical theatre diva: her selection of tunes is bold and contemporary. The production, however, does not always transform their meanings: The Cure’s 'Boys Don’t Cry' doesn’t quite illuminate Lincoln’s suicidal ideations, and Beck’s 'Loser' is reduced to a choral chant. Whether Lincoln would, if he were alive today, experiment with veganism, as McPherson suggests, is neither proven nor especially relevant. Her fascination with the president is suggested, but underplayed, as the most interesting moments – when she stands at his monument – are reduced to brief commentary.

A strong selection of songs, performed with verve and a lively engagement with the audience, MacPherson is an energetic cabaret presence, but Babe Lincoln can’t quite achieve its political ambitions.