The Cast Photo by Mikki Schaffner

Rutka is the dramatization of several months in the life of Rutka Laskier, a Jewish teenager, during the World War II Nazi occupation of Poland. Rutka and her friends face growing aggression and restriction of their rights. They contemplate ways to resist against the Germans with the threat of "deportation" to Auschwitz looming overhead. Rutka keeps a diary of her thoughts and life, and that diary, rescued and published 2006, is the basis for the show.

The musical was conceived by Amy Langer and David B. Schwartz after reading "Rutka's Notebook: A Voice from the Holocaust." The book for the piece is by Neena Beber and focuses on Rutka and her circle of friends and family. It deals with very serious issues, but does have small moments of humor to balance the tension. In addition to the large-scale historical perspective, the everyday struggles of a growing teenager, such as sexual awakening and disagreements with parents, are presented genuinely. The overall story is engaging, and despite the tragic events, there is a theme of hope which resonates as well.

The score by Jocelyn MacKenzie and Jeremy Lloyd-Styles consists primarily of songs written in the indie rock/pop style musically, but also with numbers that are reminiscent of the Broadway score for Waitress. Though this is anachronistic to the time period and setting, it does correspond to the angst of the characters, due to their age and life situation. In this way the show feels very much like Spring Awakening, which used a similar approach. The lyrics do well in adhering to musical theatre standards in rhyming and are well-suited, though a bit generic at times. The program doesn't include a song list, so this reviewer is guessing at song titles. The opening two numbers, "Someday" and "My Portrait," establish Rutka's character and her desires in life, and "Awakening the Woman Inside Me" and "Dreamin'" are the most memorable songs in a score which is always solid, but not one that sticks in your head after leaving the theater.

As Rutka, Lana Schwartz has the lion's share of the material, and provides a firm foundation for the piece. Her vocals are gritty, strong, and a strong match to the material, and she effectively captures the determined, bold, and unique personality of a teenager caught in a horrible situation. All of the supporting players provide worthwhile performances, including strong vocals, with Zoe Seigel (Micka), Delaney Brown (Stasia), Ayden Weinstein (Janek), and Dillon Klena (Lolek) being particularly praiseworthy.

Director Wendy C. Goldberg provides smooth transitions, apt blocking, and a tone in line with the material. The shift from dialogue to songs is a bit choppy at times due to the stylistic variations at play, but it works overall. As a shaper of a new piece, Goldberg should consider a few cuts, as Act 1 feels long, and potentially focusing a bit more on Rutka's writings than some repeated elements in the story, in order to tie the diary into the show more cohesively. Choreographer Patrick McCollum's moves capture the angst and generally fit the songs well, especially in "Talk, Talk, Talk," though less effectively with "We Gotta Go," which feels a bit forced. Sharon Kenny leads a great sounding six-piece band playing strong orchestrations by Nathan Koci.

The set design by Todd Rosenthal is interesting, with the stage floor angled down toward stage right, but with the background wall angled down to stage left. This jarring visual is a bit off-putting but does convey a level of tension (and pull the same from the audience) to match a setting in upheaval and conflict. Other scenic elements, including a staircase and a section coming up from below, are used well. The costumes by Jen Caprio are period appropriate, attractive, and take cues from the lyrics and dialogue. The professionally rendered lighting by Josh Epstein is stark and theatrical.

Cincinnati Playhouse in the Park is to be praised for not taking the safer route with presenting a tried and true (and tired) production with a musical most audiences will have seen before, but instead being part of the creation of a new show. In order to meet the goal of Broadway, Rutka: A New Musical likely needs some additional work, including some trimming and focus within the story, but that's always part of the process. It is likely that the musical will be compared to Spring Awakening, other Holocaust and Jewish WWII era musicals such as Harmony and The People in the Picture, and to The Diary of Anne Frank, so distinguishing itself from those shows may be a challenge. Cincinnati audiences should be sure to catch this show now, and will undoubtedly be impressed by the story, songs, performances, and design elements.

Rutka: A New Musical runs through November 10, 2024, at Cincinnati Playhouse in the Park, 962 Mt. Adams Circle, Cincinnati OH. For tickets and information, please visit www.cincyplay.com.