Killing Hitler

The opening night performance of Killing Hitler began as technically and visually impressive as it was to continue. Taking our seats after walking through the set, the audience was faced with the still image of the characters in their default positions, with a woman shuffling scores at a piano, a man in a suit pondering the newspaper in an armchair, and someone standing on a table, transfixed on a wall. The set had a refined authenticity, complete with candles and a 1930s rocking horse. The effort put into the sounds and lighting was noticeable but despite these technical accomplishments, the writing could have explored human fallibility, the choice between ‘commission and omission’ in a more effective and sensitive manner, with much of the impressive set seeming a shield for rather underwhelming and at times static writing.

Based on the July Plot to assassinate Hitler, the play used scenes from alternating time periods to illustrate the different aspects of the relationships of the individuals involved in the plot, such as Adam von Trott, his secretary Missie, Adam and Claus von Stauffenberg, Anthony Eden and the Bishop of Chichester. While giving an honest performance as Adam, Christopher Williams failed to achieve the sincere and sympathetic performance required from a protagonist whose encounters with others involved in the plot constituted the focus of the narrative. The best performances were by those who made shorter appearances. David Shields gave an imposing yet moving stint as von Stauffenberg and Miles Lawrence’s Bishop of Chichester conveyed an urgent innocence in a confrontation with Anthony Eden, despite being only briefly on stage. Self-confessed on the programme, the only invented character was Hans Lohmann, a prison officer, who whilst providing a good presentation of a retrospective look at the July Plot, was an unnecessary creation and merely distracted from the other characters with clichéd considerations and confessions of guilt at not being as brave as those executed.

While the premise of the story, as well as impressive sets and ambitious lighting meant Killing Hitler had some strong potential, the show did not deliver quite in the same way that its historical background and production could have done. There were far too many sound effects – at times they were also too loud – with dialogue in the opening scene being drowned out by background chatter simulating a court room. For some reason as well, whenever the cast needed to facilitate a door opening or closing, there was an action by the cast member accompanied by a sound effect, which added nothing to the story or setting, and instead was a false, almost slapstick approach to changing scenes. Saying this, Andrew Sachs's voiceover as Hitler, and some piano music providing a sweet contrast to the graphic torture scene of von Trott were a good use of sound as an instrumental addition to the story.

Killing Hitler was a good production, and presented a different aspect of the war with an examination of human relationships with scenes from before and after the execution of the plot. If the writing and the performers had lived up to the promise offered by the set, Killing Hitler would have been great, but unfortunately the performance was essentially underwhelming.