White Rose: The Musical ★★★★

By The Recs IT 3 days ago

White Rose: The Musical follows the inspiring story of a courageous group of university students who stood up to Hitler.

The off-Broadway show, White Rose: The Musical, which had its world premiere in January 2024, crosses the pond to London for its UK premiere and brings the emotional real-life story of the White Rose movement, a group of German students who bravely resisted the Nazi regime during World War II.

New musicals set during notable points in history often strive to fuse emotional depth with sweeping melodies, and White Rose, now playing at London’s Marylebone Theatre, offers a brilliant concept, one that blends historical drama with a soaring score. At its best, the show shines with outstanding vocal performances that breathe life into its ambitious narrative. Yet, despite the undeniable talent of its cast and the commendable score, the show falters somewhat from its script and song lyrics, leaving its audience wondering if it hits the heights of its aspirations.

The musical is inspired by the real-life story of the White Rose movement, a group of German students who bravely resisted the Nazi regime during World War II. It’s a story that aims to resonate deeply with its audience, full of moral courage, sacrifice, and the fight for justice in the face of overwhelming tyranny. The timing of this show feels incredibly pertinent in 2025, and on paper, it’s a perfect match for musical theatre that should connect easily with its audience.

Images by Marc Brenner

The vocal performances in White Rose, however, are what truly shine. The cast’s singing, led by the remarkable voice of Collette Guitart as Sophie Scholl, is nothing short of exceptional. Guitart’s portrayal of the idealistic yet vulnerable student leader is at times, heart-wrenching. Her voice, clear and resonant, with tons of power, effortlessly fills the theatre with emotion. The on-stage connection between Guitart and her co-stars, Tobias Turley as Hans Scholl, Owen Arkrow as Willi Graf and Danny Whelan as Christoph Prost, is strong, and each of their performances carry a level of honesty that is both moving and powerful. At times, the four actors seem to battle with the lack of cohesiveness in the script, but their talents do well to shine above the material they are working with. The rising star of this quartet is undoubtedly Owen Arkrow though, whose focus and devotion to the piece throughout is a pleasure to watch. He delivers highs and lows in his portrayal of Willi Graf which regularly surpasses his peers. The rawness of his acting style combined with his vocal prowess tells us he is undoubtedly one to watch!

The supporting cast is strong, with stand-out performances from Ollie Wray as Frederick Fischer as the conflicted Nazi Police Officer, and Charley Robbie as Lila Ramdohr who grapples with her own fears. The whole ensemble’s harmonies during the more uplifting moments and particularly in the final song of the show, are nothing short of stunning, and it’s clear that the production’s vocal direction and cast’s vocal talent, is top-notch.

Unfortunately, the strength of the cast’s performances is let down by the script and lyrics that feel out of sync with the show’s potential. While the narrative itself is good, the dialogue is neither devastating nor hilarious, sitting in script purgatory, with characters occasionally delivering lines that are totally uninspiring. Both the book and the lyrics lack what is needed to convey the moral and emotional complexities of these young activists, instead delivering over-simplified dialogue again and again. The attempts to intertwine the characters’ personal dilemmas with the larger political struggle occasionally veer into the realm of cliché. Moments that should feel like liberating releases, such as Sophie’s confrontation with the inevitability of death, fall flat because of a lack of depth. It’s a shame, because the music itself is strong, but the words don’t always live up to the power of the melodies.

The score, composed by Natalie Brice, is unquestionably beautiful. The music ebbs and flows throughout, at times with a kind of rock-musical grandeur, whilst retaining a delicate melancholy that mirrors the tragedy of the story. The whole score is a delight to listen to. Dan Samson’s sound production is easily the best you will find in a fringe theatre, every word delivered with clarity and volume, and Alex Musgrave’s lighting, whilst subdued, has some subtle but clever moments in its design.  

The piece has the potential to be a breakthrough work in the musical-theatre landscape, and as it stands, the show is undeniably worth seeing for its cast alone. But ultimately, the heart of the musical is hindered by the weakness of its book and lyrics. It is a reminder that even the most powerful subject matter needs more than just great vocals and score to carry it. This musical could truly bloom into something extraordinary. Until then, though, it remains a moving but imperfect production that doesn’t quite achieves the promise of its potential.

The White Rose cast bloom but the lyrics are blighted – ★★★★

White Rose Tickets

White Rose The Musical will run at the Marylebone Theatre until Sunday 13 April

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