The Pianist Musical Review: Szpilman's Holocaust Memoir Retold 2026

The Pianist musical, adapted from Władysław Szpilman's Holocaust memoir, retells the Polish pianist's survival story using his own compositions. Directed by Thom Southerland, the chamber piece stars Daniel Krikler as Szpilman, with Malcolm Forbes-Peckham as the wartime self at the piano. This review explores how the production navigates the stark subject matter and whether it succeeds as a meaningful retelling.

From Memoir to Musical: The Challenge of Adaptation

Turning a Holocaust survival story into a musical might seem distasteful on paper, given the stark subject matter. There is also a risk of triteness, especially in light of Roman Polanski's acclaimed film starring Adrien Brody, based on Szpilman's celebrated memoir. Yet those familiar with both retellings will still find something new and affecting here.

The form of the musical becomes meaningful through its use of Szpilman's own compositions. Thom Southerland, who adapted Szpilman's book and directs, creates an atmospheric chamber piece with actors playing instruments, including a piano that twirls on and off stage.

A Chamber Piece with a Haunted Narrator

Szpilman (Daniel Krikler, elegantly otherworldly) narrates his own story, seeing not just the ghosts of his family drift back to life but also himself. That wartime self is played by Malcolm Forbes-Peckham, the show's musical director, who is always before the piano playing Chopin (Nocturne in C-sharp minor) and Szpilman's compositions, as Krikler's haunted version watches on.

It is a good way to portray an out-of-body experience; he is a man removed from himself, judging himself, too. The dual presence of Szpilman as narrator and as pianist adds layers of introspection and grief.

Music That Carries the Story

Not all the songs suit the subject matter; there is a warm, nostalgic 1930s glow to some numbers that show Warsaw just before and after its surrender, when Szpilman is with his family. These moments of lightness contrast sharply with the darkness to come, perhaps intentionally, but they can feel jarring.

However, the use of Szpilman's own compositions grounds the musical in authenticity. His music becomes a character in itself, expressing what words cannot. The Chopin Nocturne in C-sharp minor, a piece Szpilman famously played, resonates deeply as a symbol of endurance.

Performances and Direction

Daniel Krikler delivers a nuanced performance as the older Szpilman, capturing both the elegance and the trauma of a survivor. Malcolm Forbes-Peckham's presence at the piano is haunting, a constant reminder of the wartime self that cannot escape the music.

Thom Southerland's direction keeps the focus on the intimate, with actors doubling as musicians. The twirling piano is a striking visual metaphor for the turning of fate and the persistence of art amid destruction.

What Works and What Doesn't

The musical's greatest strength is its innovative staging and the use of Szpilman's music. It avoids triteness by refusing to sentimentalize, instead offering a fragmented, ghostly narrative that mirrors the disorientation of survival.

Yet the occasional nostalgic numbers feel out of place, as if from a different show. The balance between light and dark is delicate, and some moments tip too far into musical theatre conventions.

• Innovative staging: Actors play instruments, and a twirling piano adds visual metaphor.
• Authentic music: Szpilman's own compositions and Chopin are woven into the narrative.
• Strong performances: Krikler and Forbes-Peckham effectively portray the dual self.
• Uneven tone: Some nostalgic numbers feel out of sync with the subject matter.
• Respectful approach: The musical avoids exploiting tragedy for spectacle.

Comparison with Other Retellings

Polanski's film The Pianist is a landmark of Holocaust cinema, winning Adrien Brody an Oscar. This musical does not attempt to compete; instead, it offers a different lens, focusing on the internal experience through music.

The memoir itself is a harrowing account of survival in the Warsaw Ghetto and the ruins of the city. The musical distills this into an hour or so of theatre, using expressionistic techniques to evoke memory and loss.

Who Should See It

Those interested in Holocaust narratives, musical theatre innovations, or Szpilman's life will find much to appreciate. It is not a feel-good show, but it is a thought-provoking one.

Audiences expecting a traditional musical may be surprised by its chamber-piece style and fragmented structure. However, those open to a meditative experience will be moved by its sincerity. The background to this story is set out in Celebrity: latest articles.