Discover how critics have been reacting to this new musical inspired by Georg Büchner’s Woyzeck.
The Guardian: “Michael Oakley’s production of Chris Broderick and Rob Shepherd’s musical, in a new adaptation by Teresa Howard, is staged with a cast of actor-musicians who create an inescapable heartiness that occasionally defuses the stark terror of the original play. But the book and lyrics dovetail nicely and the action is propelled by military cadences and stirring folk songs that are elemental, pungent and often sweetly enchanting.”
A Young(ish) Perspective: “Bringing in folk music makes sense, as Büchner’s text is scattered with references to Hessian folk songs. Shepherd and Broderick’s score is at its best when the whole company sings together. The Dance, which opens the second act, brings every voice into harmony and puts an instrument in every pair of hands. The arrangement is well rehearsed, warm and full of atmosphere, and it was one of my favourite moments of the evening.”
The Reviews Hub: “Franz & Marie is less ambiguous than the notes that Büchner left, and this seems a right move in the 21st century. Here, Varg is pure evil, manipulative and merciless. Matthew Heywood plays him to a tee, peacocking and preening for the women’s attention, telling them he’s “pumped and ready.””
WhatsOnStage: “There’s plenty of plot to hang a musical on here, and Rob Shepherd and Chris Broderick have done a fantastic job of creating melodic and stylistic variety, from heartrending ballads to nightmarish circus numbers. While a good chunk of the music does well to further the story, there’s a handful that serve as unnecessary filler and slow the pacy plot to a near-holt.”
All That Dazzles: “Michael Oakley’s direction makes good use of movement on stage, and the relationship between Franz and Marie provides an emotional thread to the story. Their physicality with each other and moments such as their duet ‘Lay Me Down Love’ are tender and well executed.”
The Stage: “Brutally eccentric musical drama inspired by Büchner’s Woyzeck.”
First Night Magazine: “It’s an excellent premise, but its incompetent writing turns it into an excruciatingly dull narrative. The characters are so sketchy you can barely make them out. To call them archetypal would be delusionally generous.”
Stage to Page: “Overall, this powerful portrayal of intense themes is well worth a watch, as the audience is transported to an eerie world through excellent storytelling and a first-class cast.”
The Spy in the Stalls: “If the script and lyrics let the production down, the musical numbers – delivered with passion – manage to lift it back up again. Jade Oswald is allowed to shine in her solo moments as Marie, particularly during ‘Lullaby’, ‘Unravelling’ and ‘If You Love Me’. Paula James, as Zella, delivers us a heart stirring ‘Inconsolable Boy’; an ode to Franz and Marie’s illegitimate baby.”
Jackstage.co.uk: “Musically, Broderick and Rob Shepherd’s folk-inspired score, arranged and orchestrated by Steven Edis, is another strength. Fiddles, banjos and rich ensemble vocals create a distinctive sound, with the joyful, almost Pogues-like opening of Act Two particularly enjoyable. Nothing/Everything Has Changed provides a beautiful duet, while Max Alexander-Taylor impresses as André Schmitt. The vocal casting throughout is wonderfully suited to each character.”
To book tickets visit: https://charingcrosstheatre.co.uk/theatre/franz-marie