Review: FRANK. THE MUSICAL at Gryphon Theatre

FRANK. The Musical is a new original work by Greta Casey-Solly, premiering as part of this year’s Wellington Fringe Festival. Developed with support from a Boosted crowdfunding campaign, the production ran at the Gryphon Theatre from February 27 to March 1, 2026.

Set during World War I, the musical follows Karl Frank, the New Zealand–born son of a German immigrant, who chooses to fight for his country at a time when anti-German sentiment is at its peak. Alongside his partner, Rose Ellis, Karl navigates love, loyalty, fear, and hope as their generation is fractured by the horrors of war. The story moves from the shores of Wellington to the trenches of the Western Front, examining themes of identity, sacrifice, and the human cost of conflict.

The production features a cast of eight performers supported by a live five‑piece band, with a score that blends early 20th‑century musical textures and contemporary folk influences. For a fledgling work operating on a modest budget, the team made commendable efforts to deliver a full audience experience.

Performances were generally strong, particularly from James Foster as Karl Frank, Nellie Evison as Rose Ellis, and Frankie Leota as Elizabeth Patterson, who brought emotional clarity and vocal strength to their roles.

At just one hour, the show feels compact, occasionally too much so. Future iterations could benefit from a slightly longer runtime, allowing the characters and their relationships more space to breathe. At times, the pacing felt hurried, as though the emotional developments were racing to keep up with the narrative demands.

The original songs were a standout. Unlike many early-stage musical productions where songs can feel secondary, the musical numbers here were a genuine highlight. Cohesive, expressive, and well crafted. It was a pleasure to see local talent showcased so confidently.

Technical elements were handled with care. Despite the small performance space, the use of microphones was surprisingly effective, with clear and balanced sound throughout. Special credit goes to sound effects designer Bec Watson for effective enhancements to the storytelling. The lighting design by Lucie Aracella McDougall also contributed meaningfully, guiding the audience from Wellington’s coastline to the front lines of WWI with clarity and atmosphere.

Costuming, however, would benefit from closer historical attention. Karl Frank, depicted as newly enlisted, wore military decorations that he would not yet have earned. This kind of detail, while small, momentarily disrupt the otherwise thoughtful world‑building.

Overall, FRANK. The Musical is a promising new work with a strong emotional core, compelling performances, and an impressive original score. As the production continues to develop, it has every opportunity to grow into something truly resonant. It also serves as a reminder that meaningful, impactful storytelling does not require a large budget, only talent, commitment, and heart.