Set in Vienna in 1938 and London during the Blitzkrieg, The Pianist of Willesden Lane tells the true and inspiring story of Lisa Jura, a young Jewish pianist whose dream of making her concert debut at the storied Musikverein concert hall is dashed by the onset of World War II. Despite devastating personal loss, her music enables Jura to endure and pursue her dreams.
Performed by Jura’s daughter, Grammy®-nominated pianist Mona Golabek, The Pianist of Willesden Lane combines enthralling story telling with breath-taking live performances of Bach, Beethoven, Chopin, Rachmaninoff, and more.
Thanks to all for the lively discussion after the performance. Please continue the conversation now by weighing in on the following questions, as well as adding any other questions and comments:
Each one of us has an innate comfort zone in the discreet languages of word or music. Will you reflect on how, in this performance, were you led by your proclivity for music to open up the context of text and story or did the text unpack and deepen the appreciation of the piano music?
The production blends narrative + piano performance to tell the story and pay tribute to Mona Golabek’s mother. But is it music-theatre?
How did the choices in stage and sound design contribute to the overall experience?
Why does Golabek include not only major concert works but musical shards and popular ditties? Why does she break off certain piano pieces before their ends as written?