Review: THE PIANIST, Park Theatre
Photo credit: Rich Southgate
A story of survival, loss and family, beautifully told with the power of music and its enduring effect.
The Pianist, a new musical adaptation of Władysław Szpilman’s memoir, has arrived at Park Theatre following a short run at Southampton’s Mayflower Studios. This musical brings to life the extraordinary true story of a well-renowned Polish-Jewish pianist whose life was throw into turmoil during the Second World War.
The staging is small and intimate, but makes a strong impression as soon as you enter, with a grand piano taking centre stage, which immediately highlights the significance of music to the production. Daniel Krikler plays Władysław Szpilman, and he spends most of his time narrating his story and taking us through his life, exploring the horrors of the Warsaw Ghetto and Nazi occupation, and his fight to survive while losing so much along the way.
One of the most thoughtful aspects of this production is how the music is woven into the storytelling, making it feel like an essential part of the story. The cast are composed of actor-musicians who perform their instruments on stage while also becoming the characters around Szpilman. This is a lovely touch, and all the performers are exceptionally multi-talented. The music flowing naturally between the scenes adds another layer to the storytelling.
Having musicians visible on stage also feels particularly fitting for a story about a man whose life revolves around music. Szpilman's compositions are given real prominence, and there are some beautiful melodies and lyrics throughout. At a time when so much is being taken away from the characters, music becomes one of the only things that stays with them and can connect them to their past, their families and the past lives.
The intimate staging works particularly well, with the audience seated on three sides of the stage, creating a sense of being drawn into the world of the characters. At times, it feels as though the audience itself forms the walls of the ghetto, and this also reinforces the claustrophobia of the environment and the families forced to live in such confined conditions.
The lighting is used effectively to add depth to the atmosphere. It's dark and bleak, reflecting the increasingly difficult circumstances of the characters, which works well within the small space. The intimacy of the theatre, the lighting and the music serve to create something that feels both personal and unsettling.
At the centre is Daniel Krikler, who gives a strong performance as Szpilman. He feels very natural in the role and not as if he is overplaying the character. There's a real sense of him telling his own story, which makes the performance easy to follow and believe. Given the extraordinary experiences Szpilman goes through, however, we did sometimes want to see more of that suffering reflected in his physical appearance and transformation. We appreciate the practical challenges of costume and makeup changes in such a small production, but a little more visible deterioration may have helped to convey the full extent of his ordeal and suffering.
Although Kirkler plays the main role, there is also a separate pianist on stage playing the piano whilst Krikler narrates and performs the role. The demands of the lead role and the level of piano playing required may have understandably made it difficult to use one actor for both. However, this slightly disjoints the connection between Szpilman and the piano. This is particularly noticeable towards the end, when Krikler plays the final piece. Suddenly, there is a much stronger connection between the character and the music, and this also increases the emotional investment in that moment. If this had been experienced more throughout the show, it could have added another dimension to this character and made the music feel even more personal.
There are some genuinely moving moments in the show, and the music really does a lot of the heavy lifting. Yet there could have been more emotional intensity overall. The story deals with devastating suffering, and those familiar with the film will know how harrowing Szpilman's experiences are. The stage production does have its tense and difficult moments, but we wanted more of those scenes to feel grittier and confronting. There are times when the production seems to hold back slightly. Pushing further into the desperation and brutality might increase the emotional impact. Feeling the devastation more deeply, and be drawn into Szpilman's loneliness and struggle to survive, would take to show to another deeper level.
Nevertheless, there's a lot to admire here. The musicianship is brilliant, the ensemble works beautifully together, and the production effectively brings a familiar and important story to the stage. It also allows audiences to discover Szpilman beyond just his character, and as a musician whose compositions deserve to be heard.
The Pianist tells a story that deserves to be told, particularly when the history and human cost of the Holocaust are still very relevant and not forgotten. The production could have just pushed a little further emotionally to match the extraordinary weight of its story. Yet, this is still a beautiful piece of theatre, that puts the music in the centre of it all, right where it should be.
**** Four stars
Reviewed by: Alexandra Tullah
The Pianist plays at London’s Park Theatre until 28 November, with further info here.
