Unless you’re actively avoiding the news cycle, it’s hard to miss that we’re living in a world grappling with rising authoritarianism and the erosion of democratic values, with war closer to our doorstep than it has been in seven decades. Against this backdrop, White Rose: The Musical arrives at London’s Marylebone Theatre as a poignant reminder of the power of youth activism and moral courage, echoing historical themes that grow ever louder.
Premiering Off-Broadway and now making its UK debut, White Rose: The Musical tells the true story of Sophie Scholl and her brother Hans, university students in Munich who formed the White Rose resistance group against Nazi Germany during World War II.
Set in 1942-1943, the plot follows Sophie’s arrival at university and her involvement in creating and distributing anti-Nazi leaflets with her fellow students. The story captures their struggles, fears, and ultimate decision to stand against Hitler’s regime, along with the consequences of such actions.
These characters, born into privilege, choose to use their status as a force for good, standing up to Nazi aggressors invading Europe.
It is a poignant story, but this musical struggles to convey its message effectively. Brian Belding’s book simplifies a complex narrative and becomes muddled in a variety of characters from both sides of the conflict. This simplification sometimes diminishes the depth of the characters and their motivations.
Natalie Brice’s musical numbers are almost all fantastic, but few feel at home in this musical. Too often, the melodies seem at odds with the unfolding action or the story they aim to tell. For instance, some of the more upbeat numbers clash with the sombre tone of the narrative, disrupting the emotional flow of the performance.
The cast is a highlight. Collette Guitart as Sophie Scholl balances strength and vulnerability, though the script sometimes portrays Scholl’s stoic approach as indifference. Guitart delivers a convincing performance despite these limitations.
There are strong supporting performances from Owen Arkrow as Willi and Danny Whelan as Christoph, while Charley Robbie shines as Lila. On press night, sound issues were evident, but vocally, Tobias Turley, playing Hans Scholl, stands out as the strongest in the cast. His passionate solo numbers captivate the audience and provide some of the most memorable moments of the show.
Justin Williams’ set design effectively immerses us in war-torn Munich, and Alex Musgrave’s lighting maintains a sense of impending doom. Director Will Nunziata attempts to find nuance in the characters, but the musical’s odd pacing prevents it from hitting the right note.
Despite its strong cast, White Rose: The Musical cannot overcome its shortcomings. It fails to fully engage the audience on several fronts, most disappointingly by not delving deeper into the complexities of personal responsibility during political turmoil and the impact of individual actions on society.
While it serves as a timely reminder of a crucial historical moment, it ultimately falls short of being the powerful reminder of the importance of standing up against oppression.
