The Pink List is a one-person musical that aims to illuminate the plight of gay men in post-Nazi Germany, a subject often overlooked in historical narratives. The show follows Karl Hellwig, a man on trial for homosexuality, as he recounts his life and the horror of the "Pink List".

The premise is undoubtedly powerful, given the harrowing reality of LGBTQIA+ individuals in a society still grappling with the aftermath of Nazi atrocities. However, the execution falls short of its potential. While clearly a lot of research and personal affection has been put into the show, which must be commended, it feels too much like a passion project and not enough of a finalised piece of theatre, making it an interesting idea in need of development. 

The performance feels more like a workshop than a polished production. While Michael Trauffer's dedication is evident, his portrayal lacks the depth and nuance required to truly connect with the audience. The characterisation feels superficial, and the delivery often comes across as rehearsed rather than authentic.

Unfortunately, the musical interludes do little to enhance the narrative. They feel tacked on rather than integrated, interrupting the flow of the story without adding significant emotional depth. The songs were too short and not developed enough. They provided more of an idea of what a song in this place could sound like rather than a finished product. In essence, this was highlighted by it being a one-person show as it meant the music was done with limited sound systems, there were no backing vocals or opportunities for musical development.

The time-jumping structure, while potentially effective, is handled inconsistently. The narrative shifts between the present-day trial, where we hear snippets of the judge or witnesses' questions through voice-over (delivered by Trauffer), and flashbacks to Karl's past. However, the transitions between these timelines could have been more impactful if they had been more closely connected to the trial proceedings. For instance, a question about Karl's relationship with a certain person could have seamlessly transitioned into a flashback detailing their meeting and subsequent bond. Instead, some jumps felt arbitrary, as the story went along in chronological order, which for a one-hour show meant some decades were skipped and time moved too fast in some areas.

Overall, The Pink List is a missed opportunity to delve deeply into a crucial historical chapter. With additional development, stronger performances, and a more cohesive structure, this production could have been a powerful and thought-provoking exploration of human resilience and injustice. As the first staging of this show, it could definitely be developed further and see a bigger performance. 

While the subject matter is undeniably essential, this production ultimately fails to deliver a compelling and emotionally resonant experience.

This show was reviewed on the 11th August 2024 at The King's Head Theatre, London as part of Camden Fringe.  For more details on the show visit: The Pink List. (fabulett.com)

Review written by Ryan Lenney

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