Review: Franz & Marie, Charing Cross Theatre

Franz & Marie is adapted from Georg Büchner’s unfinished 1830s play text Woyzeck. The story follows a young soldier, Franz Woyzeck, who is desperately trying to carve out a better life for his partner, Marie, and their newborn son. Along with his meagre army wages, he earns extra money by acting as a test subject for the sadistic Doctor, whose torturous experiments lead Woyzeck to disaster. Reimagined by Teresa Howard, Franz & Marie takes a carnivalesque approach to this classic dark story by weaving it with humour, music, and physical theatre. 

Directed by Michael Oakley, the production flows well. All the characters get their time in the spotlight, and the narrative is given time to develop. The pacing is steady and balanced between dialogue and musical interludes. Teresa Howard’s writing imbues this adaptation with humour and hope; a fresh take on a story known for its crushing heaviness. Paired with the exuberant music, Franz & Marie approaches the story of Woyzeck from a more hopeful perspective, allowing for moments of joy amongst the suffering. However, these light moments never quite give way to the bleakness that is central to Büchner’s original text. The darkest moments, such as the final experiment, are often raced by; a cursory mention rather than a full expression of suffering.

The music, lyrics and arrangements for Franz & Marie, created by Rob Shepherd, Chris Broderick and Steven Edis, are deliciously catchy. The folk rhythms, amped up with elements of rock and klezmer, blend surprisingly well with the narrative, carrying us through the carnival highs and shady lows. In much the same vein as Come From Away and Ballad Lines, it would not be surprising if this soundtrack makes its way onto many musical theatre favourites lists.

Designed by Bretta Gerecke, the set for Franz & Marie is unexpectedly dynamic. Made primarily of suspended fabric sheets, painted to look rotten and aged, the design expresses the poverty faced by the townsfolk and their resourcefulness. The actors use ropes and pulleys in order to shape and reshape the set, creating curious new frames and locations as the show progresses; a visual treat. Given that this adaptation is set in the world of ‘Slavic folklore’ (as mentioned in the programme), the design does lack some of the fir-and-pine earthiness that would place this piece in an Eastern European forest. However, this is remedied by the detailed, and more period-friendly, costuming. 

The whole ensemble for this show is excellent. Assembled from a talented group of actor-musos, the cast moves seamlessly from action to music, adding to the physical theatre element. The titular couple is played beautifully by Brenock O’Connor and Jade Oswald, bringing a sincere chemistry to the pair through their empathetic and playful performances. Eve Polycarpou is brilliant as the enigmatic Vashti. Mark Meadows takes a hilarious turn as the pompous and mewling Captain Peccary. The standout performance of the night is from Matthew Heywood, as Drum Major Varg. A slimy, petulant bully, Heywood makes the character vicious and pathetic in equal measure. From the moment Varg appears on stage, he is the one you love to hate, and a perfect foil for the tender, anxious Franz. 

Whilst not always reaching the expected depths of its source material, Franz & Marie takes a dark story and elevates it to new heights with its sparkling score and wonderfully entertaining ensemble. Joyous, heartbreaking, funny and dark all at once, this is a charming production that works well as a standalone piece, and as an introduction to the original Woyzeck. A show that has all the makings of a future fan favourite.

Directed by: Michael Oakley
Written by: Teresa Howard
Produced by: Hongsun Yoon for ACOM
Music & Lyrics by: Rob Shepherd, Chris Broderick, and Steven Edis
Set & Costume by: Bretta Gerecke
Choreographed by: Ben Wright
Dramaturg: Jack Bradley

Franz & Marie plays at The Charing Cross Theatre until Saturday 14 November