Review: THE BALLAD OF MARIA MARTEN BY BETH FLINTOFF at Maven Theatre Company

Maven Theatre Company makes a striking entrance onto the New Zealand theatre scene with the premiere of The Ballad of Maria Marten. Founded by Sera Devcich and Jessica Clough—the creative duo behind last year’s Frankenstein on the Kāpiti Coast—Maven aims to produce bold, immersive, and thought-provoking theatre that challenges conventions. With this debut, they’ve done just that.

Based on the infamous 1827 Red Barn Murder in Suffolk, England, this adaptation reimagines the story from Maria Marten’s perspective. Rather than a straightforward retelling, it becomes a celebration of female solidarity and a poignant exploration of the social constraints faced by working-class women. Blending storytelling, dance, and humour, the play is told through the voices of the women who loved Maria.

Themes of love, loss, prejudice, gender roles, and patriarchal power are woven throughout the narrative. A content warning notes that the production may be unsuitable for audiences under 16, and rightly so—this is a dark and emotionally charged story, though it’s balanced with moments of levity and song.

The set design is deceptively simple: a barn outline, a long rectangular box, and a single chair greet the audience. Yet this minimalism is used to great effect. The barn’s slatted structure, lit from behind with a soft pink hue, becomes a dynamic visual element. The lighting—designed by Isaac Wards—is especially impactful, culminating in a breathtaking final scene that lingers long after the curtain falls.

The all-female cast delivers exceptional performances. Tabatha Killick shines in the titular role, bringing depth and nuance to the complex character of Maria. Lindsey Rusling is equally compelling as Ann Marten, Maria’s stepmother, offering a performance that is both heartfelt and believable. Every cast member has a moment to shine, and they all rise to the occasion.

While some dialogue was occasionally difficult to catch due to the speed and accents, this was a minor issue that didn’t detract from the overall experience.

The a cappella singing was beautifully executed—a challenging feat that the cast handled with finesse. Their voices blended seamlessly, adding emotional resonance to the performance. Sound design by Darlene Mohekey was another standout, enhancing the atmosphere and elevating the production as a whole.

Though the story is undeniably dark, it’s interspersed with humour and warmth, making the emotional moments all the more powerful. The second half builds to a heartbreaking yet compelling conclusion.

It’s a shame this production didn’t play to a full house—it certainly deserved one. For Wellingtonians, it’s well worth the drive up Transmission Gully. This is a company to watch, and based on this debut, Maven Theatre Company has an important role to play in our community theatre landscape.