Review: White Rose at Marylebone Theatre
⭐⭐ (Two Stars)
White Rose at the Marylebone Theatre tells an incredibly important and timely story of resistance and courage in the face of tyranny, spotlighting the brave actions of siblings Hans and Sophie Scholl and their university friends in Nazi Germany. The show, in its first UK appearance after a previous Off-Broadway run, aims to honor their defiance and sacrifice. I wanted so much to love this production, but unfortunately, despite its powerful subject matter, it falters in both its material and direction.
At the heart of this story are the remarkable efforts of the Scholls and their group of friends, known as the White Rose, who risk their lives to speak out against the atrocities committed by the Nazis. The subject matter itself holds immense potential, and there are moments that reflect this. Alex Musgrave’s lighting design deserves mention for its effective use, contrasting the hopeful resistance of the characters with the looming presence of Nazi oppression through striking silhouettes. There are also impressive vocal performances from the cast, particularly Colette Guitart as Sophie and Tobias Turley as Hans, who both bring depth to their roles with their strong voices and emotional investment.
However, the production ultimately feels like it was designed for an amateur or student production rather than a professional one. One of the most jarring aspects is the decision to give each character a solo number. While this might have been intended to showcase individual talents, it comes at the cost of the narrative’s cohesion. The songs often feel forced and don't serve the story; instead, they feel like unnecessary filler that detracts from the powerful themes at hand. Rather than developing the characters or their motivations, these songs often leave the impression that the actors are simply being given opportunities to shine, even if it doesn’t serve the material.
The script, penned by Brian Belding, is where things truly fall short. While I understand that historical drama sometimes takes creative liberties, White Rose’s dialogue feels anachronistic at times, pulling me out of the experience entirely. One moment in particular stands out when a character declares, "Alex gets sh*t done," which felt jarringly modern and out of place for the wartime setting. Additionally, the delivery and physicality of the actors often made the interactions feel awkward and unconvincing. The script’s stilted nature combined with the lack of flow in the dialogue makes it difficult to fully connect with the characters and the stakes of their actions. The first time an awkward pause occurred mid-conversation, I thought that a performer had forgotten their line. However, as it happened more frequently throughout the show, it became clear that it was an intentional directorial choice by director Will Nunziata. Many scenes end abruptly, often with a character walking off stage without any resolution or emotional closure.
The songs, largely forgettable, add to the sense of disjointedness. They are often tonally at odds with the situation the character is singing about and many feel unnecessary. However, Charley Robbie’s solo number as Lila stands out as a moment of genuine emotional impact, showcasing the potential that this production has.
The cast is undoubtedly working hard to bring the material to life and their commitment to this important story is clear. However, despite their efforts, for me, White Rose doesn’t succeed in doing justice to the incredible bravery of Hans and Sophie Scholl. The production feels underdeveloped and lacks the emotional resonance and polish needed to elevate this tale of resistance to its full potential.
White Rose plays at Marylebone Theatre until 13th April 2025.
Photos by Marc Brenner