Savage - Review

Above the Arts Theatre, London


****

Written and directed by Claudio Macor

Claudio Macor's Savage is a brave play examining yet another facet of the depravity that was Hitler's regime, where along with other minorities in Nazi occupied Europe, homosexuals were rounded up and sent to the concentration camps. Savage however sets out to explore and expose the persecution of the continent's gays, focusing on the work of the real life Danish doctor Carl Vaernet, a Copenhagen GP who evoked an horrific hypothesis that by injecting monkey testosterone into the testicles of gay men, that they could be cured of their homosexuality.

Macor weaves a fictional if troubling tale around his carefully researched argument. His gay protagonist Nikolai Bergsen is shattered by the experiments practised upon him, as elsewhere a vicious SS General is forced to hide his own homosexuality, as a kindly nurse and a coterie of companions facilitate the narrative. Interestingly, Macor reserves perhaps some of his sharpest criticism for the British war crimes investigators who after the war interrogated Vaernet with more than a degree of friendly bias - this being of course the era when homosexuality remained a crime in Britain and gays could be sentence to chemical castration. 

There are occasional moments of simplification in Macor's tale - perhaps understandable given its broad canvas that stretches to Argentina to where Vaernet, along with countless other Nazi criminals fled. But throughout, the story combined with a collection of excellent performances, make for compelling theatre.

Alexander Huetson puts in a brave turn as Bergsen, showing us a terrified agony and anguish, alongside a complex, deep yet ultimately damaged love for Nic Kyle's Zack Travis. Macor takes an unconventional stance with the General - played convincingly by Bradley Clarkson. It makes for a reasonable argument to portray an evil man as himself troubled by his hidden sexuality - but *spoiler alert* is it right that the General's suicide should evoke our sympathy, just because he's gay and facing the same conventions of deceit and cover up that those who he is persecuting must endure? By all means recognise (and dare one say it, condemn even) the man's hypocrisy. But inviting us to care for his demise is perhaps a conceit too far.

Gary Fannin's Vaernet is an intelligent if slightly caricatured portrayal, though ever since Gregory Peck played the notorious Dr Mengele in the 1978 movie The Boys From Brazil his evil Nazi doctor has been a tough act to top.

Amongst the darkness though Macor injects a brilliant shaft of humanity in Nurse Paulsen, played with an enchanting sensitivity by Emily Lynne. Her care and compassion towards Bergsen reminding us of the importance of love and kindness in seeking to heal the ravages of hatred.

Savage, itself inspired by the campaigning journalism of Peter Tatchell, confronts us with a glimpse of humanity at its darkest. Even more concerning is that this history of some 75 years ago is repeating itself today, in lands just beyond our own continent, where minorities are massacred for their belief or sexuality. Sadly, Macor's play makes for desperately essential theatre.

Runs until 23rd July

The Grand Tour - Review

Finborough Theatre, London

****

Music and lyrics by Jerry Herman

Book by Michael Stewart and Mark Bramble

Directed by Thom Southerland

Nic Kyle and Alastair Brookshaw

Thom Southerland's production of Jerry Herman’s The Grand Tour may tell a bittersweet fable, but the show defines all that is good in fringe theatre today. Whilst Broadway success may have eluded its 1979 premier, a staging in the 50 seater Finborough offers the rare privilege of seeing this eclectic work make its maiden voyage across the Atlantic.

The pedigree of Herman, Bramble and Stewart was already established when they collaborated on this tale of tragic whimsy, set against a backdrop of France's encroaching Nazi occupation. Jacobowsky, a Jew who has already fled his native Poland and subsequently Austria and Czechoslovakia must flee Paris. So too must Colonel Stjerbinsky of the exiled Polish Army. Like the Nazis, Stjerbinksy hates Jews but the Germans are after both men and so out of necessity an unlikely allegiance is formed. Throw in a beautiful French woman Marianne, to whom not only is the Colonel betrothed but who can also recognise the human decency of Jacobowsky and the tale evolves into the most tragi-comic of Road movies, as the Holocaust’s tragedy looms.

Alastair Brookshaw’s Jacobowsky is a stunning performance that leads the show. Avoiding caricature, Brookshaw (an actor whose choral career has seen him more accustomed to Westminster’s Abbey rather than Syngaogue and who now, following his outstanding Leo Frank in Tarento’s 2011 Parade confirms his Jewish credentials) nails Jacobowsky’s desperate vulnerability in a performance that combines hilarious chutzpah with profound pathos. Onstage almost throughout, Brookshaw’s opening number I’ll Be Here Tomorrow, sung as he walks, stumbling, across the outstretched arms of the company, evokes the frailty and the tragedy of the time perfectly.

Nic Kyle is the Colonel. His is a tough act, playing the bad-guy/straight-guy to Jacobowsky’s antics, yet the kiwi Kyle skilfully manages his character’s transition as he learns to love his Jewish travelling companion. Completing the trio is Zoe Doano’s Marianne. Doano’s singing matched by her perfect poise and presence that convinces without once becoming sugary, evidences her West End experience.

As well as producing, Danielle Tarento casts the show and her eye for talent is, as ever, spot on. Blair Robertson’s murderous SS Captain defines a villainy that is cliché free, whilst Vincent Pirillo’s Jewish father whose grief as the Nazis destroy his daughter’s wedding (in a scene that is one of several gloriously choreographed routines from Cressida Carre) is a beautifully sung turn that also avoids melodrama.

The Finborough’s stage is tiny yet Phil Lindley’s ingenious scenery, comprising panels that open to reveal differing backdrops sets the locations wonderfully. The act one closing number, One Extraordinary Thing, set in a circus big top complete with high wire routine is a particular delight. Max Pappenheim’s well crafted sound design adds authenticity, whilst Joanna Cichonska’s filleting of the orchestral score to an arrangement for just two pianos maintains the charm of Herman’s melodies whilst never drowning the un-mic’d actors. Southerland has got the balance of song and setting just right – every lyric is crystal clear.

Reflecting the fate of France’s Jews, The Grand Tour offers no happy ending. The narrative may be fiction, but the backdrop is the most painful truth and in this expertly assembled troupe, Danielle Tarento offers up yet another slice of theatrical genius.

Runs until 21st February 2015