The musical by Titus Hoffmann (book and lyrics) and Thomas Borchert (music) is a masterpiece based on true events. It is hard to describe the experience in any other way.​

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The creative team succeeds impressively in presenting this sensitive subject in a musical without making it feel like a history lesson or merely pointing a moralizing finger at the past. Even original texts by Hans Scholl find their way into the songs, adding an extra layer of authenticity to the piece.

The audience does not simply witness the development of a resistance movement. Rather, a deep and personal insight into the lives of the protagonists unfolds. We encounter young people living under the Nazi regime and are drawn deeply into their emotional world—experiencing their fears, worries, hopes, and visions. Naturally, this also reveals the background that ultimately led to the formation of the “White Rose.” Hoffmann and Borchert trace this journey powerfully and with great emotional depth. They show “the bud” from which resistance later grows. The story is complex and demands full attention. Time jumps and narrative nuances leave little room for the mind to wander. One becomes so immersed in the events that, as a member of the audience, you feel like part of them. At first glance, the stage design appears minimalistic, yet it unfolds a strong metaphorical power. Wooden beams create a stark, oppressive image—the suggested swastika hangs over the characters like a sword of Damocles. It is a symbol that needs few words and yet leaves a lasting impression. Musically, nothing is left to be desired. The compositions carry the emotional weight of the scenes and add further depth. The cast is consistently well-chosen and delivers convincing performances both dramatically and vocally at a high level. Particularly impressive is how carefully each individual character is developed—with clear convictions, inner conflicts, and distinct personal arcs.

 

Alexander Auler as Hans Scholl portrays the complex image of a young man undergoing inner transformation. Caught between initial conformity and growing resistance, his struggle for conviction, responsibility, and truth is palpable at all times. Auler not only depicts this inner conflict but makes it deeply felt—intense, authentic, and with strong vocal presence. His inner demons and personal struggle are ever-present. Celena Pieper gives Sophie Scholl remarkable clarity and inner strength. Her development from an observing sister into a determined and courageous personality is delicately drawn and emotionally grounded. Pieper manages to make both determination and vulnerability visible—and above all, audible—subtle in the nuances, powerful in the decisive moments. Bianca Basler as Inge serves as an emotional anchor. Her portrayal is marked by a warm, reflective presence that navigates between familial closeness, चिंता, and growing distance. Basler gives the character a quiet strength that often operates in the background but resonates all the more deeply because of it. One constantly senses that this character is trying to preserve the illusion of a perfect world and family, even though both have already begun to crack. Judith Caspari shapes Traute as a serious, thoughtful figure with a palpable inner tension. Her performance conveys both the weight of the time and the many doubts and questions that linger. Caspari impresses with an intense presence that unfolds its full impact especially in quieter moments. Vocally and dramatically versatile, her portrayal strikes straight to the heart and captivates throughout. Raphael Binde as Freddy initially brings a carefree, almost life-hungry energy to the stage, though doubt gradually begins to emerge here as well. This subtle transformation—from apparent lightness to confrontation with reality—is portrayed with great nuance and gives the character a tangible development.

Lara Kareen portrays Ulla with great joy in performance. Her depiction thrives on presence and precisely placed emotional moments, demonstrating how even smaller roles can have a strong impact. Especially at the beginning, her character appears carefree and full of life despite the time and external influences. Yet her portrayal is never superficial or shallow. Her position within the group is clearly defined, and she does justice to all facets of the character. Fin Holzwart as Shurik may be physically absent but is mentally ever-present. Holzwart lends this unique role an almost floating presence—as a voice, a memory, and an inner dialogue partner for Hans. This gives the character a symbolic dimension that further enhances the emotional depth of the piece. It is precisely this interplay of diverse characters and acting styles that makes the production so impressive. No one pushes themselves into the foreground, and yet each performance leaves a lasting impression. All of this forms the foundation for a deeply moving and enduring piece. Immediately after leaving the theater, there was at first only overwhelmed silence. The impressions of the past two and a half hours linger and need to be processed. This profound musical moves, inspires reflection, and will certainly remain in the heart. < Kirsten Albers, April 27, 2026