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MUSICALS - the musical magazine

SCHOLL - The Bud of the White Rose

A new musical that does everything right

(...) Titus Hoffmann's production skilfully interweaves past, present and future as well as reality and imagination and allows everything to flow logically into one another. The stage set-up by Stephan Prattes also follows this concept (...) Above the stage fly wooden beams, which consistently move up and down or turn. During these transformation journeys, the swastika symbol flashes through again and again and thus symbolizes the omnipresent National Socialism, initially in a fairly subtle way, but in the end it cannot be overlooked thanks to concrete positioning and red neon lighting. 

Also consistent is the timeless, genre-spanning music by Thomas Borchert with musical arrangements by Robert Paul - on the keyboards and musical director of the five-piece band in the background, being part of an excellent sound experience.

This is mainly due to the brilliant performers, whose singing interpretations alone characterize the evening as aesthetically high quality. As Hans, Alexander Auler shows the vulnerable and artistic side behind the flawless facade of the Wehrmacht soldier through voice and play. Touching when he sets "These words remain" to music based on an original poem by the historical Hans Scholl. Sandra Leitner as Sophie successfully oscillates between a bright little sister with a loose mouth and a courageous resistance fighter. As Traute, Judith Caspari is convincing all along the line and impresses with her phenomenal voice not only in her solos, but also in the duets with her perfectly complementary playing partners. Although not narratively present in the play, Fin Holzwart is more than present as Shurik. Lina Gerlitz is pleasing as the lively Ulla, as is Dennis Hupka as the young Freddy. Tough Inge is portrayed authentically by Karolin Konert. 

The successful musical "SCHOLL - The Bud of the White Rose" does in any way everything right. It remains to be hoped that it will find its way onto the German stage(s) again, as it is excellent at processing history in a way that is worth hearing and seeing and creating a contemporary reference in the process.(Constanze Köhler / Musicals Magazin - June/July 2023) 

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