White Rose - Marylebone Theatre

Amid the devastation of World War Two, when hope felt scarce, a small group of Germans chose to resist. Among them stood the White Rose movement—university students in Munich who, through anonymous leaflets and non-violent protest, dared to speak truth to power. Their story is too often relegated to the footnotes of history, which is precisely why musicals like White Rose are so vital. They remind us that resistance doesn’t always begin with weapons—it can start with words, courage, and an unwavering sense of morality.

This is a story of resistance—resistance against evil, no matter the cost.

Photography: Marc Brenner

Hans and Sophie Scholl, central figures in the White Rose, were morally driven, intelligent young people who opposed the Nazi regime not with force, but with conviction. Tobias Turley and Collette Guitart formed a deeply affecting duo, bringing emotional weight and sincerity to their roles. Turley’s reflective gravitas as Hans paired beautifully with Guitart’s fierce, clear-eyed portrayal of Sophie. Their chemistry and commitment were palpable. Through Natalie Brice’s evocative score and Brian Belding’s bold, emotionally intelligent script laced with occasional breaths of comedy, the siblings' bond—and their bravery—were brought vividly to life.

Will Nunziata’s direction embraced restraint, allowing the material to breathe. This minimalist approach lent the production both intimacy and dignity, ensuring that the real-life heroes it honours were never overshadowed by theatrical excess.

Having seen the production multiple times during its limited London run, one thing became clear: the cast and creative team gave everything to this story—and the audience felt it. Each performance was charged with emotion, and few left the theatre without tears in their eyes. Brice’s music lingers long after the final note, its melodies unforgettable and its messages beautifully tragic. Her collaboration with Belding is, frankly, a hidden gem that deserves far more attention than it has yet received.

Photography: Marc Brenner

A particular highlight was the addition of Sophie Knew for the UK premiere—a haunting trio performed by Turley, Guitart, and Ollie Wray, who plays Frederick Fischer, a conflicted German police officer torn between duty and conscience. The number captures the mounting fear that Sophie’s unflinching defiance may prove fatal. The actors’ nuanced delivery drew the audience into the quiet tragedy of their moral conflict.

Equally powerful was the finale, We Will Not Be Silent, which echoed the words of the White Rose leaflets themselves—a call to reject fear and think freely. Its harmonies and lyrical strength landed with such urgency and force that it felt almost impossible not to rise and join the resistance.

White Rose the Musical is not just a moving piece of theatre—it is a timely, necessary reminder of the power of moral courage. It is a work-in-progress, but with so much potential that needs to be exploited further. It offers not only a history lesson, but a call to conscience. Driven by passionate performances, a stirring score, and an unflinching sense of purpose, this production deserves a long life beyond its London run.

More people need to hear this story.

Production Value: 65%

Value for Money: 70%

Overall Score: 70% - ⭐⭐⭐⭐ (4*)