Miller’s moral en­quiry into Nazi delu­sions

The Jewish Chronicle - - LIFE -

known for the well-made, multi-act drama, it would have been seen less as a sketch and more as the fully formed piece that Phil Will­mott’s su­perbly acted pro­duc­tion re­veals it to be.

De­signer Ge­or­gia de Grey sets it in a fea­ture­less white cube, giv­ing Miller’s moral en­quiry the qual­ity of a lab­o­ra­tory ex­per­i­ment. In just one act it is not so much the bar­bar­ity of the Nazis that is re­vealed but the anti-logic of their in­ten­tion. The re­sources sucked up by their geno­ci­dal plans are not a waste but, to them, ev­i­dence of the no­bil­ity and sac­ri­fice of their cause.

Out­stand­ing per­for­mances in­clude Ed­ward Killing­back as the vul­gar­ity-pho­bic Aus­trian aristo, PK Tay­lor as the in­cred­u­lous thesp with mis­placed faith in Ger­man cul­ture and Lawrence Booth­man as the artist Le­beau whose fear ap­pears to have in­fected ev­ery mol­e­cule of his body. But they are all good.

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