This important play, developed by Modalways and written by Daniel Mawson, hits all the right notes under the diligent direction of Sue Dunderdale as we follow the life of a magnetic musician and his family as they face an impossible choice.
World War I ends in November 1918 and the world is on the brink of new opportunities. A year later, Gideon Klein (Max Gallagher) is born into a musical Jewish family in Moravia, and displaying a musical talent from an early age, his sister, Lisa (Rosie Hilal), a fantastic pianist in her own right, encourages her parents to let him move to Prague with her when he is twelve. They are eventually joined by their mother, Ilona (Rebecca Scroggs), in spite of her guilt at leaving her sick husband behind.
When Gideon’s opportunities are dashed by the rise and spread of Nazism and the outbreak of World War II, his encounter with Gustav Schorsch (Alastair Michael), a theatre performer and left-wing political activist who uses theatre as a means of political resistance, provides another outlet for his creativity, albeit under an alias, and somewhat at the expense of his relationship with medical student Františka (Scroggs).
As the Nazi stranglehold tightens and Gideon’s world contract, Jakob Edelstein (Michael), a Jewish elder in Prague, appears to offer another way with the promises of a work camp in Terezin, but masquerading as a propaganda tool, it is surely only a matter of time before, as The Voice (JJ Welles) infers, both hope and music run out…
Mawson successfully navigates the potential pitfall of creating heroes and heroines through the lens of rose-tinted glasses by presenting us with the real faces of humanity. In an immersive performance in an intimate venue, we, the audience, are as much part of the production as observers of it with its distinctly recognisable people and scenes very much of our own everyday lives.
The factual narrative chronology is well considered and delivered as we are driven energetically through 1920’s and 1930’s Prague by the accompanying ensemble of Elana Kenyon-Gewirtz (Violin), Caroline Morris (Cello), and Tomek Pieczora (Piano) led by Chris Emerson (Viola), who also provides musical arrangements, and whose delightful fusion of Klezmer, Czech folk, classical compositions, and jazz are superbly performed and redolent of the period. This was an accomplished performance by a talented quartet, and I particularly enjoyed their seamless interactions with the cast throughout the play that quite rightly placed them at the heart of the action.
All the cast perform strongly, and each deserves their own mention. Gallagher exquisitely embodied the drive and determination of a composer whose intent focus as he rushes to convert his piece for a quartet piece to a trio – as the violin has ‘departed’ – belies his naivety as to what is unfolding about him.
Scroggs in a dual role captures the heartfelt emotion of a mother as her fledglings depart the nest whilst in contrast one felt her frustrations with a relationship where she would always come second to the score.
Hilal was excellent as the insightful elder sister who promotes and protects her brother’s reputation in both life and death, with a very believable performance that reflected the natural boisterousness of a close relationship, reminding me of the one I have with my own sister.
Michael ably delivered two very contrasting roles as he oscillated between individuals both claiming to be of the people, yet neither able to fulfil their promises for different reasons, with a gripping performance that really held our attention amidst the conflicting emotions each character invoked.
2025 marks the 80th year since the liberation of Auschwitz-Birkenau, the end of WWII, Gideon Klein’s death, and the 30th anniversary of the genocide in Bosnia.
We don’t have to look too far today to see more of the same.
This production, so purposefully told, poses a question as it challenges audiences to engage deeply with history, find hidden hope, and draw strength from art as we confront upheaval in our own world.
The melodies of the past reverberate in the present – let’s learn the lessons and not repeat the same mistakes.
Gideon is co-produced by Modalways CIC, Bradford Cathedral and Bradford Reform Synagogue (Producers: Richard Fay, Daniel Mawson, Ned Lunn). It is based on a conceptualisation by Modalways CIC (Richard Fay and Daniel Mawson) of David Fligg’s biography of Gideon Klein, ‘Don’t Forget About Me’. It is supported by public funding from Arts Council England.
Reviewer: Mark Davoren
Reviewed: 11th April 2025
North West End UK Rating:
Rating: 5 out of 5.
