Tag Archives: Jonathan Evans

WHITE ROSE

★★

Marylebone Theatre

WHITE ROSE

Marylebone Theatre

★★

“the prophesy of doom should be more inherent in the performances rather than the dressing”

There is no denying that “White Rose: The Musical” comes to the stage with a pertinency that it may not have held when it first premiered Off-Broadway a year ago. Its powerful premise is built around a group of young activists defying an authoritarian regime – one in which rights are stolen, one by one, under a state system presided over by criminals. The setting is, however, Munich in 1943 and the musical focuses on a group of students who stood up to Hitler. They put their lives on the line as they formed the White Rose resistance movement to challenge oppression and propaganda, distributing leaflets at immense risk to themselves. There are echoes of Hans Fallada’s 1947 novel ‘Every Man Dies Alone’ (adapted into the 2016 feature film ‘Alone in Berlin’), and the complexity of the real-life narrative offers a goldmine of raw material. Brian Belding’s book chips away at the surface without really getting its hands dirty; the result being a show that lacks depth, peopled by similarly shallow characters.

At its heart are siblings Hans (Tobias Turley) and Sophie (Collette Guitart) Scholl. Hans is the overprotective brother, ashamed of his former allegiance to the Hitler Youth. Sophie spends much time resisting her brother’s safeguarding nature – until she eventually persuades him to accept and join in with her cause. The dialogue treats the whole affair like a high school romp, and we never get a sense of danger, despite shadowed, moody SS officers occasionally watching over them. A side plots involves Lila (Charley Robbie) who runs a print shop and helps with the printing of the leaflets. A young Nazi officer, Frederick Fischer (Ollie Wray) spends a lot of time with the oppositionists. Being an old schoolmate of Hans and ex-lover of Sophie’s, he also spends much time in a state of confusion, repeatedly removing and replacing his swastika armband. Such meandering motives are indicative of Belding’s book and lyrics and Natalie Brice’s music. The score belongs to another show entirely. Led by an even mix of guitar chugging, mid-tempo pop and searing ballads, it is jarringly detached from the setting and from the themes of the story. Following each number there is a palpable dip in energy, during which the dialogue never matches the passion of the singing.

Director Will Nunziata fares as well as he can with the stuttering structure of the narrative but suffers from a lack of variation in character. There is little build up to the symbolic and climactic gesture of hurling leaflets out into the audience: an act of defiance that mirrors the real life-threatening events (Hans and Sophie flung them from the balcony onto their fellow students). The horrific events the show presents are ill-served by simplistic exposition that dampens the emotional clout. The performances are solid but miss the trick of reaction. Often – particularly during the solo musical numbers – the onstage cast seem to be assessing an audition piece at the end of a long day.

Despite an overall lack of presence, we are occasionally drawn into the characters’ plight. But the hook is not strong enough for us to make the plunge. There are moments when the depth and the gravity is glimpsed, and Justin Williams’ evocative design sets the tone, depicting a ravaged Munich, along with Alex Musgrave’s suggestive lighting. But the prophesy of doom should be more inherent in the performances rather than the dressing. This story should definitely be told – it is not just a poignant reminder of the past, but an urgent alarm call that the past has a habit of repeating itself. Unlike its protagonists – the show seems unsure whether to deliver its message. Or whether to be entertainment. The two can (and do) easily co-exist, but “White Rose: The Musical” doesn’t find that harmony.



WHITE ROSE

Marylebone Theatre

Reviewed on 4th March 2025

by Jonathan Evans

Photography by Marc Brenner

 

 


 

 

 

Previously reviewed at this venue:

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK | ★★★★ | October 2024
THE GOVERNMENT INSPECTOR | ★★★★ | May 2024
THE DREAM OF A RIDICULOUS MAN | ★★★★ | March 2024
A SHERLOCK CAROL | ★★★★ | November 2023
THE DRY HOUSE | ★★½ | April 2023

 

 

WHITE ROSE

WHITE ROSE

WHITE ROSE

DEEPSTARIA

★★★★

Sadler’s Wells Theatre

DEEPSTARIA

Sadler’s Wells Theatre

★★★★

“unique, mysterious, dreamlike, ethereal and challenging”

Since the beginning of time humankind has had a fascination with the unknown. Our imaginations and desires have been fired to explore the world, and beyond, to its limits. One of the greatest and simplest discoveries that this quest has revealed is the realisation that deep space and the deep sea are not that different. What is curious, though, is that we spend more time reaching out into space, while much of our own planet – under the sea – remains unexplored. This is the starting point, and the focus, of Sir Wayne McGregor’s latest work, “Deepstaria”.

The title comes from one of the ocean’s more mysterious jellyfish. A fragile, gossamer-thin creature. Ghost like and elusive. Its full name is ‘Deepstaria Enigmatica’, which is apt as McGregor’s dance piece is a very enigmatic affair. Collaborating with Oscar-winning sound designer Nicolas Becker, music producer LEXX and lighting designer Theresa Baumgartner, he has created something quite unique but, like bodies lost in space, we’re never really sure where it is going. There are clear references to the deep sea, and hints of outer space; and the vast unknown is symbolised by being plunged intermittently into a void of darkness. It is through a burst of this episodic blackness (courtesy of something called Vantablack Vision) that we are led into the dance.

Nine dancers inhabit the space. As though underwater their movements are floating. Aqueous and boneless. Sometimes in slow motion, sometimes gathering momentum, reflecting unknown currents that propel them. They emerge from rockpools of light, fluid and agile. McGregor’s choreography is mesmerising and the dancing meticulous. The music throbs, tethered to every sinew in mood and rhythm. But then a jolt severs the connection, and we are left in the void again. It is bewitching and disturbing.

The dancers leave the ocean; we appear to be on a shoreline. The light ebbs and flows like shallow waves. Baumgartner’s design certainly comes to the fore with some breathtaking effects. Slanting beams become fine rain with astonishing realism. Red hot washes alternate with marine blue mists. Through these sequences the performers ripple. Initially near-naked, later evolving into androgynous figures in Ilaria Martello’s diaphanous costumes – the deep-sea references underscored beautifully.

The experience is almost like gazing into a giant aquarium. We are transfixed, yet it is excruciatingly monotonous. Exquisitely so, nevertheless. Our senses are thrilled but the effect never quite reaches our heart. Like the musical soundtrack it scratches at the emotions until we almost feel we have had enough. Yet we never switch off. The balletic quality of the performers repeatedly draws us back into their complex world. It is fathomless and unfathomable. Like its gelatinous namesake, “Deepstaria” is unique, mysterious, dreamlike, ethereal and challenging. Sir Wayne McGregor CBE is a trailblazing choreographer who innovatively dips his toes into other artforms. With this show he dives headfirst into the depths. It is ultimately a thrilling collaboration.



DEEPSTARIA

Sadler’s Wells Theatre

Reviewed on 27th February 2025

by Jonathan Evans

Photography by Ravi Deepres

 


 

Previously reviewed at this venue:

VOLLMOND | ★★★★★ | February 2025
DIMANCHE | ★★★★ | January 2025
SONGS OF THE WAYFARER | ★★★★ | December 2024
NOBODADDY (TRÍD AN BPOLL GAN BUN) | ★★★★ | November 2024
THE SNOWMAN | ★★★★ | November 2024
EXIT ABOVE | ★★★★ | November 2024
ΑΓΡΙΜΙ (FAUVE) | ★★★ | October 2024
STORIES – THE TAP DANCE SENSATION | ★★★★★ | October 2024
FRONTIERS: CHOREOGRAPHERS OF CANADA | ★★★★ | October 2024
TUTU | ★★★ | October 2024
CARMEN | ★★★★ | July 2024
THE OPERA LOCOS | ★★★★ | May 2024

 

DEEPSTARIA

DEEPSTARIA

DEEPSTARIA