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Music by Wladyslaw Szpilman
Based on the best-selling book by Wladyslaw Szpilman
Adapted and directed by Thom Southerland
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| Daniel Krikler and the cast of The Pianist |
Thom Southerland’s adaptation of Wladyslaw Szpilman’s story of survival is a beautifully devastating work of theatre. The Pianist, already an acclaimed novel and Oscar garlanded movie tells of Szpilman’s life as a celebrated Warsaw pianist in the early 20th century.
Before the Germans invaded Poland in 1939 and thus trigger the Second World War, Szpilman, together with his parents and siblings lived a gilded life in the capital. But as Jews now under the Nazi regime, the Szpilman family was to be brutally torn apart. That Southerland manages to convey the horror of the Holocaust with an understated yet menacing sensitivity within the confines of the Park Theatre's space, speaks volumes for his gift as a director.
The dramatic power of this musical is driven by Daniel Krikler’s compelling performance as Szpilman mirrored, as it were, by the virtuoso piano skills of Malcolm Forbes-Peckham, immaculately attired throughout in white tie and tails, providing a breathtaking piano accompaniment to the narrative. That the musical’s score is entirely drawn from Szpilman’s compositions (with an occasional splash of Chopin) only adds to the evening’s powerful poignancy.
A company of 10 actor-musicians support the two leading performers, giving a finely crafted haunting charm to Szpilman’s melodies. This band has been lavishly furnished with string and wind players, creating perfect harmonies and solos that have to be amongst the finest on London’s fringe theatre scene. Notably strong accompanying performances in the cast come from Nitai Levi as Szpilman’s brother Henryk and Rosalind Ford as the pianist’s mother.
Whilst the music may well be exquisite, the show’s lyrics, that have been transplanted onto the score in more recent years by a team of no less than eight lyricists, frequently lack depth. With too much schmaltzy sentimentality they mask instances of emotional impact.
Southerland’s creative partners however match him well with their inspired work. Andrzej Goulding’s design that sees Forbe-Peckham and his grand piano waltzed around the stage on a wheeled platform is simple yet phenomenal. And Goulding's set that opens the show as a bleak wooden wall, carries ingenious projections that serve well to suggest the charm of pre-War Warsaw. The wall in turn morphs through to the barbed-wire enclosure of the city’s infamous ghetto, and ultimately into the infernal cattle trucks that were to transport the city’s Jews east to be murdered in their millions. Stunningly suggestive visuals. Gareth Tucker’s sound design that enhances so much of the evening’s narrative, ranging from bomb-blasts to children’s laughter is equally well crafted.
The Pianist is already a fine tribute to Wladyslaw Szpilman. One world-class lyricist could yet transform this piece into a world-class show.
Runs until 28th November
Photo credit: Anthony Leary-White
