Book, Music & Lyrics: Michael Trauffer
Musical Supervision: Sarah Morrison
Michael Trauffer has an impressive reputation for queer historical storytelling, as the creator of critically acclaimed Fabulett 1933. Building on this world, he now brings audiences forward to 1957 with The Pink List, a touching new musical which includes a nice nod to the former work.
Informed by real stories of gay men who survived the Nazi concentration camps, only to further suffer under oppressive post-war laws, The Pink List shines a spotlight on an often overlooked historical injustice. Trauffer has put a lot of care into the production, interspersing key information throughout and presenting the affecting themes with passion and precision.
Trauffer’s attention to detail is particularly visible in the few design elements of the piece. The colour palette is predominantly grey/monochrome, reflective of the historical period and bleak conditions, with small splashes of pink accenting the costume, props and lighting design. These choices are smart, striking and effective.
Where the production loses some finesse is in its musical style. There is a stereotype of musical theatre being kitsch and non-naturalistic, which many modern musicals have managed to subvert. Trauffer’s songs struggle to overcome this, however, and the melodies can feel jarring within such a serious setting.
It could be argued that other musical works, such as Kander and Ebb’s ever-popular Cabaret, are set against the same bleak historical backdrop and thrive with a camp soundtrack. In Cabaret’s case, however, the changing political landscape begins as subtext and the fun tunes are deliberately representative of society’s denial. Trauffer puts the effects of the Nazi regime front and centre, which could be better recognised in the tone of his musical numbers.
Trauffer has an undeniably good voice and it is clear why he would want to use this asset in his storytelling. His choice to jump between past and present in the protagonist’s life is also an intelligent one, which allows for lighter moments and variety within the piece. Unfortunately, the heavier moments never achieve their true weight, translating as sorrowful but not devastating. A well-written and beautifully performed final number concludes the production on a high note, however, and solidifies Trauffer’s reputation for queer historical storytelling.
The Pink List explores important content and achieves some beautiful moments. With more time and space to grow, this intimate piece could certainly bloom into something beautiful.
Runs until 13 August 2024
Camden Fringe runs until 25 August 2024
