Franz and Marie
Dark, raw and unapologetically intense, Franz and Marie arrives at Charing Cross Theatre with a distinctive musical identity and a story that rarely allows its audience to settle comfortably. Inspired by Georg Büchner’s unfinished tragedy Woyzeck, this new musical throws us into a world shaped by war, class, trauma and desperation, accompanied by an energetic indie folk score that often provides a fascinating contrast to the darkness unfolding on stage.
At the centre of the story is Franz Woyzeck (Brenock O’Connor) a soldier struggling with the psychological scars of war, while desperately trying to provide for Marie and their baby, Georgie. O’Connor gives a restless, almost permanently unsettled performance. There is vulnerability beneath his increasingly troubled exterior particularly effective when Franz appears caught between anger, confusion and desperation. His performance becomes more intense as the story progresses, his energy and stage craft is a real stand out, yet he retains enough humanity to prevent Franz from simply becoming a figure defined by his actions and that is where the magic lies. Jade Oswald brings warmth and emotional depth to Marie, creating a character who feels trapped by circumstance but still has a determination and identity of her own. Oswald brings strength to the character still possessing her own wants, frustrations and desires. There is directness to Oswald’s performance that works particularly well. Vocally, Oswald is particularly impressive. Her voice has a beautiful clarity that sits naturally within the production’s raw sound, yet she also knows when to pull the performance back and allow a quieter moment to carry the emotion. Rather than chasing the biggest possible vocal moment, she uses the music to deepen Marie’s story, making her songs feel like extensions of thoughts she can no longer keep contained.
Around them is a rustic but colourful collection of characters and the supporting company embraces the heightened, sometimes unsettling world of the piece. Matthew Heywood (Drum Major Varg) brings swagger and physical confidence to the stage. His presence deliberately disrupts the already unstable relationship between Franz and Marie and Heywood gives the character the necessary arrogance and magnetism to make that disruption believable. Max Alexander-Taylor (André Schmitt) brings another layer to Franz’s world, delivering a grounded performance that helps give the central character’s increasingly troubled behaviour something to play against. Eve Polycarpou (Vashti) brings experience and considerable stage presence to her role, making even quieter moments feel purposeful. There is a lived in quality to her performance as the fortune teller that adds texture to the world surrounding the younger characters. Elaine Hua Jones (Kat) similarly makes her mark, bringing individuality and energy to the role and completing an ensemble in which even the smaller characters feel part of the strange community. Steve Simmonds (Sergeant Ursid) brings authority and an edge of menace to his scenes, commanding the stage. Paula James (Zella) offers a strong, assured performance, finding personality in the character and ensuring she registers within a story dominated by Franz and Marie.
Director Michael Oakley keeps the production moving with a strong sense of atmosphere, while Teresa Howard’s stage adaptation embraces the fractured nature of the original material. Bretta Gerecke’s design, Christopher Nairne’s lighting and the sound work of Andrew Johnson and Oscar Cotran help create a world that feels grimy, claustrophobic and increasingly unstable, complemented by Ben Wright’s choreography and Ronin Traynor’s fight choreography.
Musically, Franz & Marie has a real pulse. The score by Rob Shepherd and Chris Broderick, with arrangements, orchestrations and additional music by Steven Edis, has an upbeat, punchy quality that gives the production its own personality. Even the ballads retain momentum rather than bringing proceedings to a halt. The folk influences feel earthy and immediate and having a cast of actor musicians helps make the music feel as though it grows naturally from the world of the story rather than simply being placed on top of it.
There is something refreshingly uncompromising about Franz & Marie. It does not attempt to transform its source material into a comfortable musical and its lively, punchy score sitting alongside such bleak subject matter gives the evening an intriguing tension. One area where the production could perhaps allow itself a little more breathing space is at the beginning. We are plunged into the action almost immediately and while this establishes the harshness of Franz’s world effectively, a little more time spent getting to know Franz and Marie before events begin to unravel would strengthen our emotional investment in them and the story. Establishing their relationship, their hopes and perhaps even showing us a glimpse of happier times would make the darker turns of the story land even harder. Likewise, the production is relentlessly bleak for long stretches. There is certainly a place for that darkness, it is fundamental to the material but a few more genuinely light hearted or humorous moments could provide some welcome contrast. Allowing the audience to laugh with these characters would not undermine the tragedy; in fact, it could make the eventual doom and gloom considerably more powerful. Darkness often hits hardest when we have first been allowed to see some light. Nevertheless, this is an ambitious, atmospheric and musically distinctive production powered by a talented company who throw themselves wholeheartedly into its strange and troubled world.
Franz & Marie may live in the darkness, but its music gives it a heartbeat
This show was reviewed on the 5th October 2026 at the Charing Cross Theatre, London where it runs until the 14th November 2026. Tickets available here: Charing Cross Theatre
Review written by Sam Sadler
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Photo credit : Danny Kaan
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