Franz & Marie Review: imaginatively staged musical after Büchner’s Woyzeck
07 October 2026 | 19:30 | Charing Cross Theatre, London
⭐⭐⭐ | PR - Invite
There is something particularly affecting about watching a character slowly unravel when you are sitting close enough to catch every flicker of fear, every change of expression and every moment of vulnerability. Michael Oakley's production of Franz & Marie benefits enormously from the intimacy of Charing Cross Theatre, with performances that elevate an ambitious musical that does not always find its dramatic balance.
Adapted by Teresa Howard from Georg Büchner’s German tragedy Woyzeck, the musical was originally commissioned by Korean company Acom and underground Kentish cult band The Singing Loins. With a book and lyrics by Chris Broderick, this actor-musician tale explores poverty, exploitation, love and psychological deterioration against a backdrop of military oppression.
The performance opens with energetic drumming, efficient in establishing its characters and relationships. Steve Simmonds' foul-mouthed Sergeant Ursid is almost reminiscent of the terrifying drill instructor in Full Metal Jacket, introducing a world where authority is exercised through humiliation and cruelty.
Bretta Gerecke's design is wonderfully resourceful. Wooden pallets, earthy fabrics and ropes create a flexible playing space, while curtains, boxes and falling cloths transform scenes with impressive fluidity. Christopher Nairne's atmospheric lighting designs are particularly effective during Franz's increasingly disturbing nightmares, where familiar faces and voices return to torment him.
Although choreography is used sparingly, Ben Wright's movement feels purposeful and entirely in service of the storytelling. From women sewing and weaving, to to the physical intensity of military sequences and flamboyant character-driven moments, every choice feels considered. Nothing feels superfluous, helping to establish a believable world, its people and their circumstances.
At the heart of the production are Brenock O'Connor and Jade Oswald, both exceptionally cast as the title pair. Oswald brings strength and emotional conviction to Marie. Whether challenged by friends, admires or the man she loves, she remain wonderfully present, revealing a woman with her own beliefs and unwavering sense of self. Her tenderness towards Franz allows for their relationship to be entirely convincing.
O'Connor is nothing short of extraordinary. His portrayal of Franz is a masterclass in depth and psychological complexity. His decline unfolds gradually, a painfully authentic portrayal of a man destroyed by poverty, and the desperation to provide for his family. Even as he succumbs to paranoia, O'Connor never loses the humanity underneath the madness. It's difficult to imagine anyone better suited to such a demanding role; an astonishing performance deserving of serious recognition.
Richard Emerson Gould's Doctor Simian and Simmonds' Sergeant expose the grotesque disparity between those wielding power, and those forced to endure it. The doctor's treatment of Franz is particularly disturbing. Matthew Heywood is equally strong as Drum Major Varg, a vile and thoroughly spoilt young man who believes everyone exists for his pleasure. Heywood captures this arrogance and petulance brilliantly, delivering a deliciously obnoxious performance that you love to hate.
Where the production occasionally struggles is in its theatrical identity. Moments of genuine humour raise laughs, though due to Woyzeck's absurd nature, it's not always clear where the laughter is intended. Sudden shifts between comedy and tragedy sometimes interrupt the emotional momentum. Likewise, principal characters unexpectedly becoming instrumentalists can be jarring without visual distinction, while English accents distance the musical from its European setting.
Musically, Broderick and Rob Shepherd's folk-inspired score, arranged and orchestrated by Steven Edis, is another strength. Fiddles, banjos and rich ensemble vocals create a distinctive sound, with the joyful, almost Pogues-like opening of Act Two particularly enjoyable. Nothing/Everything Has Changed provides a beautiful duet, while Max Alexander-Taylor impresses as André Schmitt. The vocal casting throughout is wonderfully suited to each character.
The ending also feels surprisingly underpowered. After such a carefully constructed psychological journey, death arrives with little opportunity for emotional response, while Franz's implied fate lacks clarity. Rather than devastating, the final moments leave us with frustrating ambiguity.
Nevertheless, Franz & Marie remains a compelling and imaginatively staged musical with excellent performances and ensemble work. Its uneven storytelling prevents it from reaching its full potential, but O'Connor's outstanding portrayal, complimented by Oswald, makes this a show worth experiencing.
Playing at the Charing Cross Theatre until the 14th November: https://charingcrosstheatre.co.uk/theatre/franz-marie
