The greatest country music love story that doesn’t shy away from the bad times, set to a new and old musical soundtrack.
Telling the story of Johnny Cash and June Carter through a theatrical lens, this production blends concert-style performance with biographical storytelling, aiming to offer a fresh perspective on two of country music’s most iconic figures.
The show relied on the audience having prior knowledge of Johnny Cash and June Carter, focusing heavily on trying to tell something new or hidden. It feels like being at an authentic country concert, but the interjections from the narrator (who is their son in this case) keep the show from being a mere replica. The first act is very fast-paced, with only a few songs sung in completion, and it is difficult to fully settle in. Johnny and June are only just engaged when it comes time for the interval. However, Act 2 has a much clearer point to make, with more time devoted to the importance of the story.
Both Christopher Ryan Grant and Christina Bianco are expertly cast as the two leads. The chemistry is completely believable. They hit all of the points expected whilst adding something extra that makes this show worthwhile as its own thing. It makes all the difference to have genuine Americans inhabiting the roles, who sound effortlessly similar to their actual counterparts. The recognisable movements and mannerisms look totally natural and unchoreographed, just as they should be. Johnny Cash enters the stage to cheers and applause as a sparklier-than-real-life showman version of himself.
The entire cast has perfect harmonies, but during The Carter Family Tree song, it is difficult to understand all of the information due to poor diction. Instead of just casting children, the actors are left talking to a spotlight on the floor for scenes involving the young Johnny Cash and John Carter, which feels silly.
The production has an orchestra of two halves: those relegated to the back of the stage and the actor-musicians. Although everyone is given their fair share of credit and applause, it would work better to have one or the other, but there seems to be a trend against using the pit in musicals these days.
The fully wooden set is very fitting for the country music atmosphere. There is an excellent use of projection to highlight the various venues in quick succession — a simple but effective touch. Some aspects try too hard to be clever (such as the spotlight), and facing the back of the stage to play to a fake audience feels unnecessary and happens too often. The few props used are noticeably accurate, down to the old-fashioned microphone and American-style pill bottles.
The show is enjoyable for the most part. There is a sense of waiting for the well-known songs (which are thankfully given the time they deserve). The many quips get clear laughter, and mentions of other famous singers such as Elvis Presley, Patsy Cline and Kris Kristofferson are picked up on with excitement from the audience. There are unfortunately a handful of sticking points in this production, but it is a unique way of presenting a story known by many and, arguably, still preferable to being at a real Johnny Cash concert. What it does well comes from the brains and talent of these theatre makers and, whilst not everything needs to be turned into a musical, this one gets a green light.
The show continues at The Festival Theatre in Edinburgh until 2nd May 2026, before continuing its UK tour.