'White Rose: The Musical' review — this true story of wartime courage and resistance deserves to be more widely known

Read our review of White Rose: The Musical, starring Collette Guitart and Tobias Turley, now in performances at the Marylebone Theatre to 13 April.

With democracy being challenged and authoritarianism on the rise, it is a potent time for Will Nunziata’s White Rose: The Musical to make its UK debut at Marylebone Theatre.

Based on the remarkable true story of the White Rose movement, student Sophie Scholl arrives in 1942 Munich from her small hometown to join her older brother Hans. Together they form the titular resistance group, creating and distributing leaflets to challenge and call for non-violent resistance against the Nazi state.

A cast of 11 valiantly attempt to do justice to the story, but is impeded by a rather clunky, expositional script and direction that could do more to engage the audience.

Collette Guitart has beautiful, clear vocals as Sophie, but fails to project enough in her spoken words. As a character, Sophie is resilient and brave and we should root for her, but Guitart is often so muted it is hard to become caught up in her noble quest.

Tobias Turley, winner of Mamma Mia! I Have A Dream, is earnest as her brother Hans. Gentle and courageous, his protective instincts towards his sister are easy to understand. Turley has a naturally comfortable stage presence and nice projection and control in his singing.

More backstory is needed generally, but Danny Whelan and Owen Arkrow show conviction and determination as fellow students Christoph and Willi. Mark Wilshire is underused as Professor Kurt Huber and Ollie Wray needs more agency as past love interest Frederick Fischer.

Lila Ramdohr (a sweet and enthusiastic Charley Robbie) is the production’s only Jewish character, albeit a peripheral one. Her solo “The Stars” is a touching and mournful ballad which explores that her family might be alive and looking at the same stars at night.

Brian Belding’s book has been extended from its previous stint Off-Broadway last year, but there is still much opportunity to flesh out the characters. It is hard to become sufficiently invested emotionally, which is paramount for a musical like this to succeed. It doesn’t help that several of the Nazis are portrayed as pantomime parodies of villains, one complete with a cartoonish evil cackle.

It’s a delicate story to be given the musical treatment, and Natalie Brice’s upbeat pop-rock style of some songs is at odds with the serious tone of the subject matter. The ensemble pieces are among the strongest; opener “Munich” is a lively expression of hope for the future and “Pride/Shame” is a rousing call to do what is right, performed with real energy by the cast.

Juston Williams’s atmospheric set design contains bleak concrete walls and pillars, backed by a black brick wall and rubble that conveys war-torn Munich. Props are minimal, although Sophie is constantly encumbered by a solid leather satchel that appears to be glued to her shoulder.

True stories of German resistance to the Nazis are fairly rare on stage. Despite its flaws, Brian Belding should be commended for bringing awareness to an amazing story of courage and resistance that deserves to be more widely known.

White Rose: The Musical is at the Marylebone Theatre to 13 April.

Photo credit: White Rose: The Musical (Photos by Marc Brenner)