An ambitious and distinctly unique new musical that is full of surprises
⭐⭐⭐⭐
For a fringe musical, Franz & Marie has everything. A cast of 14 actor-musicians, great visual effects, a fabulous folk-inspired score, some excellent performances and many unexpected twists and turns. There is so much happening in this quirky and hugely entertaining production.
Franz & Marie has had an unusual journey to the London stage. Inspired by Georg Büchner’s unfinished 1830s German tragedy Woyzeck, the musical was originally commissioned by South Korean theatre company Acom and created by members of the Kent-based folk band The Singing Loins. First staged in Seoul in 2014, it has now been reimagined for Charing Cross Theatre in a new adaptation by Teresa Howard.
The score is one of its real strengths, packed with catchy folk tunes that are brought brilliantly to life by the cast. The large ensemble numbers are particular highlights, making full use of the actor-musicians and giving the production an energy that feels much bigger than its relatively intimate setting.
Act Two begins particularly well. During the prelude ‘The Dance’, the cast are already performing as the audience returns to their seats, before launching into ‘Pub on the Corner’ — another excellent and incredibly rousing number. These are the moments when the musical really comes alive.
At the centre of the story are Franz (Brenock O’Connor) and Marie (Jade Oswald), and both actors are excellent, O’Connor in an incredibly challenging role. He is given only a handful of moments of genuine calm and happiness during the entire show, meaning much of the performance requires him to exist in a state of trauma and emotional distress. It is a demanding task and a difficult emotional state to sustain across a full musical.
Eve Polycarpou as the fortune teller Vashti is another standout. Polycarpou’s performance is wonderfully mystical and beguiling, adding yet another dimension to an already eclectic story.
Visually, the production is also impressive. Huge, camouflage-like curtains hang around the stage and are raised and lowered by the cast as needed, sectioning off areas to create smaller rooms and completely different environments. It is a simple idea used very effectively.
The lighting and sound effects during the battle sequences are excellent, and the first appearance of the army band is particularly memorable. They march loudly through the auditorium before making their way onto the stage, immediately surrounding the audience with the sound and spectacle of the production.
Unfortunately, the book isn’t quite as strong as the score. Even by the end, I’m still not entirely sure whether Franz & Marie wants to be a comedy or a drama. There is post-traumatic stress, sexual assault, fortune telling and plenty of overt comedy. The show has a genuinely dark side, which can at times be difficult to reconcile with its more comedic moments.
Then there are the show’s many quirks — including Franz surviving on a diet of only peas and water for three months. It is certainly never predictable!
But perhaps the best way to experience Franz & Marie is to abandon judgement, embrace its quirks and surrender to the great music, talented cast and excellent staging by director Michael Oakley and choreographer Ben Wright. With 14 actor-musicians on stage, the production has a richness and scale that you might not expect from a new musical in such an intimate theatre.
It may be difficult to categorise, but it is certainly very entertaining — and definitely worth a visit!
Franz & Marie is a new adaptation of Georg Büchner’s classic German tragedy Woyzeck, originally developed by members of the folk band The Singing Loins. The production is produced by ACOM & Charing Cross Theatre Productions.
· Director: Michael Oakley
· Stage adaptation: Teresa Howard
· Book and lyrics: Chris Broderick
· Music: Rob Shepherd and Chris Broderick
· Arrangements, orchestrations and additional music: Steven Edis
· Choreography: Ben Wright
· Set and costume design: Bretta Gerecke
· Lighting design: Christopher Nairne
· Sound design: Andrew Johnson and Oscar Cotran
· Fight choreography: Ronin Traynor