The Pianist | Park Theatre

The Pianist, which is based on the 1946 memoir by Wladyslaw Szpilman and in turn a 2002 award winning movie of the same name, is a haunting yet beautiful musical that gives Szpilman another chance to tell his harrowing tale. Adapted for stage and directed by Thom Southerland, the musical becomes an intimate and soulful experience as audiences are immersed into Szpilman's world alongside him, as World War Two descends and turns his world upside down. Based on his own experiences, The Pianist is a chilling tale, with an authoritative detailing that audiences may not have previously been privy to, as he recollects in great depth how quickly the world became unforgiving.

Szpilman and his family of musicians (including his father, mother, two sisters and brother Henryk who provided lyrics to Szpilman's compositions) are well renowned and beloved in Warsaw. Szpilman who works at the radio broadcasting studio soon finds his simple joys and then rights stripped away as the Germans descend, with the wall being erected to segregate the Jews with compulsory armbands being issued. As life becomes harder, the family can no longer hold onto their hope or naivety, especially when Henryk in particular refuses to abide quietly.

The memoir isn't the most obvious choice for a stage adaptation and yet Southerland ensures that it translates beautifully to the stage. Southerland gives Szpilman the role of both storyteller and musician, addressing the audience directly, with his family encouraging him to tell the stories. The story comes through in fractured fragments as Szpilman's memory is shaky and he's unwilling to relive the days of horror, and yet when he shares the burden of this storytelling with the entire company, it becomes easier to relive. It's a fascinating framework, as the cast slip in between reenacting what happened and directly addressing the audience, but always in character.

The cast of twelve (including musical director Malcolm Forbes-Peckham as the pianist for most of the show) are actor musicians, and they create a remarkable company. Oliver Magor and Erin Rowlatt make up the ensemble, and other characters when needed. Melania Maggiore and Elżbieta Kalicka portray Szpilman's sisters Halina and Regina respectively, conveying the depth of their despair through their eyes and physicality. Max Roll takes on two rather admirable characters, Gimpell and Majorek, making a memorable mark as his bravery and sacrifice keeps Szpilman alive when nothing else can. Oliver Grant too is another memorable performer with his tender portrayal of Hosenfeld, especially as an ironic moment of reversed fate awaits him in the end.

Mischa Jardine displays stunning vocals as Janina, along with a quietly devastating implication of a future of what could have been for Szpilman, yet becomes a beacon of hope regardless. TJ Holmes does a splendid job as the father, as he opts for denial and buries himself in his cello playing instead. Rosalind Ford delivers a strong performance as his mother, as she is the first to succumb to the new regime with a heartbreaking fear tearing at her. Nitai Levi is a stand out as Henryk, the passionate younger brother of Szpilman. Levi's spirit provides the show with a guiding voice as he pushes back against the restrictions, displaying a layered personality that is just as rich and interesting to watch.

Daniel Krikler as Wladyslaw Szpilman is sensational. Krikler, who is one of the industry's most exciting young talents, outdoes himself with a career best performance that is simply show stopping at every turn. Krikler embodies the weary Szpilman with ease, allowing the grief to show in his eyes as he finds himself flustered as he tries to perfectly retell the story. Krikler is a captivating storyteller as he walks around the edge of the stage, making eye contact with the audience with an easy going warmth and charm; and yet even better when he's thrust back into the story. As his eyes and fingers linger on the piano, one can truly believe he's Szpilman.

Simon Lee has worked on the show as a music supervisor, arranger and orchestrator; creating a new life for Szpilman's songs. The entire company, barring Krikler and Forbes-Peckham, often walk on stage wearing and playing their instruments to great effects. During the first act, this often invites a sense of welcoming community as they create music together, and later becomes a haunting echo of the music that continues to exist longer after its muses and musicians are gone. These moments, especially accompanied by the growing vocals of the cast, feel magical. This can only be topped by the mesmerising moments when Forbes Peckham plays Szpilman's compositions with a solo spotlight.

Szpilman's music sounds wonderful on its own, yet with these additional insight into his life, becomes even more poignant. A cohort of lyricists (David Batteau, Michael Bruce, Carol Connors, Wendy Lands, Jim Gillard, Michael Ruff, Andreas Szpilman and Arthur Schlosser (aka Dean Dobbins) have come together to create poetic lyrics that further propels the story telling. Interestingly, these lyrics have mostly been divided to the ensemble cast as they sing Szpilman's thoughts back at him in a striking manner. Krikler excels in the rare line or even rarer song that he does have, stunning with his vocals and delivering his few lines with purpose.

Andrzej Goulding's set is a masterful feat, looking deceptively simple with its wooden floor and back wall. However, as each new horror is unleashed upon the community, the back walls slide to reveal this development to chilling effect. The use of video design (also Goulding) is done well as it becomes a sheet of music that moves as Szpilman plays, as well as the subtle splatters of blood as on the high walls. These walls also slide at sections, creating the radio booth where Szpilman worked. The piano is placed on a raised and movable platform, that is predominantly centre stage, and when it is locked away behind the sliding doors becomes a missing anchor to the piece.

Robbie Butler's lighting design works particularly well as the cold eerie blue mixes into the mist to create a sharp sense of isolation and loss, whilst the warm golden glow of the past is inviting. The use of spotlights to pinpoint significant moments, choices and characters is done well, giving the show a keen sense of theatricality. Gareth Tucker's sound design is used well, as each instrument can be heard clearly even as they all begin to overlap and form as one. The use of background muffled bombs and guns adds to the tension of the show, as well as the cheery radio jingle. Jonathan Lipman's costumes are of the time and reveal plenty about the Szpilman family, as each character carries and interacts with their costumes differently. The choice to keep Krikler in a formal suit throughout the show, regardless of his position, highlights the overarching fact that he is the pianist and carries himself to that level at all times, refusing to sacrifice his dignity.

The Pianist is a stirring story that is subtle and loud all at once, as it both celebrates and remembers life whilst mourning it. A beautiful and yet harrowing production, this musical leaves no heart untouched as it recollect the power of music and humanity amongst the worst of times. With a soaring score that leaves the spirits wanting more, a stellar cast of actor musicians, an unforgettable true story and a performance of a lifetime, The Pianist is a gem of a show. 

The Pianist plays at Park Theatre until 28th November - tickets and more information can be found here.

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Rich Southgate