The Book Thief Musical | One of The Most Incredible Pieces Of Theatre That Has Ever Been Staged

Disclaimer: I did previously review this show in the Bolton run. If you wish to read that review, you can do so here. This review is for the newest run of the show. 

(This is your notice to get comfy and get a drink. I have a lot to share).

Show: The Book Thief Musical
Venue: Belgrade Theatre, Coventry & Curve Theatre, Leicester
Director: Lotte Wakeham
Runs until: 16th September (Coventry), 29th September – 14th October, Leicester
Rating: ★★★★★

Following the run in Bolton, The Book Thief Musical, based on the hugely popular bestselling book by Markus Zusak is back on stage. Running first in the Belgrade Theatre Coventry and then the Curve Theatre Leicester, it is remarkable to return to see this show and see the changes adapted to evolve what was already a sublime production, and there’s little doubt as to why this is one of the most incredible pieces of theatre not only out there currently, but that has ever been staged.

With the return of this show, still under the fantastic direction of Lotte Wakeham, it was a pleasure for me to see that most of the original production has been kept the same – after all, that original production is what I fell in love with and think is so unique and special. I can safely say that The Book Thief Musical remains to be one of the most breathtaking and unforgettable shows I’ve ever seen, and one that made me vividly feel a whole plethora of emotions. 

With the bestselling author Jodi Picoult making up half of the librettists, combined with Timothy Allen McDonald, it is no wonder this show sounds as euphonious as it does. This, paired with music and lyrics, courtesy of Elyssa Samsel and Kate Anderson and musical direction throughout the show from Matthew Malone are all used to bring Markus Zusak’s story to life in a way which can only be described as stunning, and even that feels like an understatement. Something of note is how many direct quotes and passages from the book have made it onto the stage. Markus Zusak’s original writing is already very visual and lyrical, so it makes sense a lot of it has directly transitioned into the musical script, and it’s a lovely added touch that fans of the book can hear the story they know and love being told in a new and original mesmerising manner. 

The choreography, initially brought alive by Tom Jackson Greaves, who choreographed the previous run has this time joined forces and talent skills with Tinovimbanashe Sibanda who has joined the creative team for this run as an associate choreographer. The bulk of the movement throughout the piece remains very similar to the last production –  full of life and energy and clearly thought has been put into every direction. However it also feels even more fluid and entrancing; – the range of songs from ‘Have a Heart’ which is a very tender and poignant moment, to ‘Late For The Party’ which is comical but also uncomfortable for all the right reasons, and the unforgettable ‘Word Shaker’ means the cast have a chance to really show off their skills and adaptability depending on the current tone of the scene & number they’re performing in. The new and seemingly slicker choreography in ‘The Challenger’ really aided to make that number more of a spectacle and tense than it already was in the previous, and left me in wonder at how Daniel Krikler who portrays Max Vandenburg can have that much stamina!

The cast, set and everything as a whole is bigger since the original run, yet despite all this, the show still has maintained a feeling of intimacy. This tone works perfectly for the story; as an audience member, The Narrator is giving you an insight into a story he wishes to tell and show the two extremes of humanity, from the sheer evil it can offer, to the highest hope and kindness. Whilst everything did have to be bigger to adjust to the larger stages, it hasn’t been made so big it feels the tenderness of the story is lost. 

Leading the cast are Tilly-Raye Bayer, Mollie Casserley and Eirini Louskou as Liesel Meminger (on the night I attended I saw Tilly-Rae Bayer). It is a wonder to watch someone so young take a role as substantial as Liesel and instantly warm hearts with her performance, yet it is a feat she accomplished!  With songs such as ‘Hello Stars’ and ‘In This Book’, the childlike innocence and wonder is able to shine through, but with the numbers such as ‘What Good’, there is also the reminder that although Liesel is a child, she is living in a dark time where she is forced to deal with emotions and heartbreak more than any child should have to face. 

Also leading the cast alongside Liesel is Daniel Krikler as Max Vandenburg and Obioma Ugoala as The Narrator (who if you’ve read the book, you’ll know also goes by another name). Krikler has played Max since the first run and whilst his performance has always been genuine and heartfelt, it is clear in this run he has been given the space to develop the character and therefore his performance more. Since the last run, a few extra sections have been added that just add more depth and development to the role and aid in bringing him to life that much more. Max is a complex character with so much depth to him and so much emotion and heart – and every aspect of this has been transferred to the stage beautifully by Krikler. From the way the lines are delivered to the more subtle details such as the body language and facial expressions, Krikler is able to deliver a performance displaying such a range of emotions; from the hope and longing that can be felt in ‘Hello Stars’ and ‘In This Book’, to the darker and more fearful moments yeah can be felt in ‘What Good’’ and ‘Writing Letters’, Krikler’s vocals are somehow soft but also with strength behind them. He really takes everyone on a powerful and impactful journey with his performance. Furthermore, he is able to show all aspects of Max’s character in a way that feels authentic, natural and believable in every sense of the word. There is never a moment of doubt in his performance and it is no wonder his portrayal of Max wins and breaks hearts simultaneously. 

Max and Liesel’s relationship together is heartwarming, to say the least. The moments they’re on stage together are a stark reminder that hatred is not a natural trait but one that is learnt, and the innocence, hope and beauty of their firm friendship is a joy to watch and see grow as the show progresses. Their performances of the ‘Hello Stars’ reprises and ‘The Word Shaker’ really allow their relationship to come alive on the stage; to see Max introduce Liesel to the power of words and for Liesel to give Max the distraction and respite of the cruel world they’re living in through the childlike innocence she still has a degree of makes them a wonderful pairing. This relationship is a really special one in the book and it is wonderful to see it transferred to the stage so well. 

Obioma Ugoala is new to the cast for the Coventry & Leicester runs, yet already feels as though he’s been a part of the company since day one. His portrayal of The Narrator is full of heart and comfort. Rather than an intimidating figure, he has this wonderfully remarkable stage presence throughout the entire piece. Narrating the story with empathy for the horrific world these characters are currently living in, there are even moments on stage where he is not the main focus, watching him watch the scenes unfold is touching on its own; again through the use of subtle details in his facial expressions and body language, even when he’s not necessarily saying or singing any lines, his performance still speaks volumes. Matching this stage presence, he has beautifully powerful vocals that demand attention; his performance of ‘Have a Heart’ as the show’s opening number really sets the bar high for the remainder of the show. The Narrator’s constant presence on stage for almost the whole duration of the show is not only remarkable in the way the energy is maintained from start to finish – a feat in its own right – but also serves as a metaphorical reminder that death is always around us, but the representation of this in the show actually serves as a way to demonstrate death isn’t always something to be feared; it is nothing short of remarkable how Ugoala can take a role that could be quite daunting and chilling and make it comforting. 

Rounding up the lead roles are Mina Anwar and Jack Lord as the Hubermann’s. Lord has been in the cast since the Bolton run and Anwar is new to the cast for this second run and together the pair work really well together with a natural and believable chemistry. Anwar as Rosa Hubermann portrays the perfect balance between a firm mother with a harsh exterior but has nothing but the upmost love for her family – something felt so profoundly with her tear-jerking rendition of ‘Dreadful’; similarly, Lord as Hans is able to really demonstrate how hans may appear to be the gentle and kind father figure everyone on Himmel street knows and loves, but beneath the exterior, there is the complex issues and internal battles his character is facing; it is a challenge to not be moved to tears with the raw emotion he delivers throughout the show, as can be felt in ‘Music Nonetheless’. With the pair’s acting choices and chemistry with the other characters in the show, it’s no wonder they bring smiles to everyone’s faces and tears to everyone’s eyes, particularly in the moving reprise of ‘Music Nonetheless’ that Anwar provides.

Having said all this, The Book Thief Musical is very much an example of an ensemble show. Rounding up the remainder of the cast are Matthew Caputo, Katy Clayton, Oonagh Cox, Mark Dugdale, Michal Horowicz, Thomas-Lee Kid, Purvi Parmar, Corinna Powlesland, Edwin Ray, Wendy Somerville, Lee V G, Russell Wilcox, Anu Ogunmefun and Simon Oskarsson; Thommy Bailey Vine, Preston Cropp and Oliver Gordon are the young boys who share the role of Rudy Steiner. I found it rather lovely to see a mixture of familiar faces from the original run continue in bringing the show to life, with new faces that can bring parts of themselves to the stage and story. 

The cast as a whole is a perfect size to ensure everyone gets to be noticed on stage and be able to shine and show what they can do. The ensemble take on a multitude of roles – some of which are complete polar opposites, and aid in bringing the whole show together as a completed piece. In the opening number of act two, ‘Look at Jesse Owens’, I found it really clever to see how the ensemble sing the same lines but in a completely different tone which really brings a shift in the mood in a really effective way. Furthermore, in the group numbers such as ‘Late To The Party’, ‘The Challenger’ and ‘What Good’, the increase in cast size makes a difference and definitely has more of an impact. Having said this, the cast size has not increased so much that the intimacy of the piece is not lost. 

It is also worth noting that the show is set in 1940 Nazi Germany, yet for casting director Abby Galvin and casting consultant Jessica Ronane, this has not been a barrier for the show being cast diversely. Within the cast on stage, there is representation across the board and someone everyone would be able to see themselves in on stage. I don’t think I need to elaborate on the positive effect this can have on audience members, or the effect it had on me.

Amongst the cast as a whole, the energy, passion and emotion is maintained from the first to the final note and is palpable from the audience. It feels as though the company are aware of what a heartbreaking, beautiful and special story this is they’re providing audiences and as a consequence, are putting their absolute all into their performances. It feels very special watching something so unique and magical be performed before your very eyes by a whole company who are doing themselves, the original book, and everyone who aided to make this show happen, proud. 

Whilst the show was already sublime when it ran in Bolton, the added features in this new production have only aided to further elevate the production and wow audiences even further. There is more set, more cast, more of an awe-inspiring show. In ‘The Challenger’ in particular, there were some new pieces of set which literally had me open-mouthed. The use of puppetry in a few scenes in the show, thanks to Sam Wilde designing, Amy Rose directing and Hannah Southfield as the puppet supervisor, was remarkably clever and they are a wonder in their own right. Again, these were present in the previous show but there seems to somehow have been improvements from then to now! The attention to detail in this production is second to none; something I love about the original text of The Book Thief is how Max encourages Liesel to develop her writing with detail, and it feels like the show mirrors that. Be that subconsciously or not, it’s a wonder to see. 

The set, lighting, props and costume (with thanks to Good Teeth, Nic Farman, Ryan O’Conner and Sharon Williams respectively) all bring added details to the show and bring the story alive. These added details make the show a feast for the eyes as well as the ears. However, having said that, the main theme of The Book Thief is words. Their impact, how they can change the world, change lives and have more power than anyone could possibly fathom. So when it comes to the staging, the added stage craft details of course bring the show alive, but do not overshadow the messages of the show and never detract from the script, the music, the choreography or staging. The story is at the heart of everything and that crucial aspect is maintained throughout, rightfully and beautifully so. 

The Book Thief is a perfect example of what theatre can be, and what it should be. It reminded me of why I first fell in love with theatre. It’s a crucial, heartbreaking, emotional story, told in a way that is unique, captivating, and unforgettable. When I saw the show in Bolton, I already thought the production was perfect but this production has pleasantly surprised me and blown me away once more, with adjustments that have taken an already perfect show, and somehow managed to elevate it even further. This is a show that not only everyone should see, but needs to see. This is a show to be booked now rather than wait and be filled with regret at missing it in the early stages. It has been a joy beyond words to already have seen it evolve from one city to the next, and I for one will eagerly await to hear more on future news for this exceptional show. If The Book Thief does not have another life after this run concludes, it will truly be a tragic shame and loss for the theatre industry. 

It’s somewhat ironic that The Book Thief is a show about words and yet there doesn’t seem to be enough words in the dictionary for me to do it justice. I could talk about this musical for hours and whatever I say will never be enough. This is a production that has to be seen for yourself to understand just what a wonder and moving experience it is. Theatre is meant to tell stories, to move people, to transport people to another time and place and this is a show that does so, perfectly. The Book Thief is the most perfect page-to-stage adaptation I’ve ever seen. In fact, I’d even say this is one of the best musicals I’ve ever seen as a whole. This is a show that will more than stand the test of time and that is worthy of all the well-deserved praise and then more. The Book Thief is a reminder of the power and impact theatre can have. 

At the time of which this post is published, The Book Thief will have concluded the run at Belgrade Theatre Coventry from 10th – 16th September.

The Book Thief continues the run at The Curve Theatre Leicester from 29th September – 17th October. 

You can find out more about the show here: https://www.thebookthiefmusical.com/

You can book tickets here: https://www.curveonline.co.uk/whats-on/shows/the-book-thief/

“I have hated the words and I have loved them, and I hope I have made them right”.

It felt very fitting to end this post the same way I ended the first one. Again, I wouldn’t normally use personal photos, but for this show, I think we can make an exception.