Mark Gatiss delivers a powerful and disturbing performance as Arturo Ui in the Royal Shakespeare Company production directed by Seán Linnen, a work that combines comic grotesque with the historical parallel of the rise of fascism.
Bertolt Brecht's play, a satirical parable about Hitler's rise to power, is set in a criminal underworld where Chicago gangsters represent the leading figures of the Nazi regime. In this version, Gatiss begins as an almost tragicomic figure – with a pale complexion, sad eyes and a humble style – before gradually evolving into an increasingly fearsome character as he climbs the ladder of criminal power.
In his performance, he combines elements reminiscent of Hitler, Scrooge, and contemporary political figures, creating an unstable but extremely effective character on stage.
A gangster world as a mirror of fascism
Brecht's text, adapted here by Stephen Sharkey, places the rise of Ui parallel to the consolidation of Nazi power in Germany. The gangster characters represent historical figures, while the story of the "cauliflower trade" in Chicago becomes a metaphor for political manipulation and violence.
In this universe, Christopher Godwin plays a figure who reflects the weakness of the old power, while the other actors build a gallery of characters who move between comic and menace.
Mawaan Rizwan stands out in his energetic and erratic role, while Janie Dee brings a sensitive and balanced performance in more serious roles. The cast as a whole maintains a careful balance between caricature and dramatic tension.
Spectacular direction and circus atmosphere
Seán Linnen's direction creates a theatrical world similar to a dark circus, where excessive aesthetics and black humor serve to highlight the artifice of political power.
The costumes, set design, and stage movement build a gradual transformation of the characters: from a chaotic group of gangsters to a disciplined fascist machine.
The music and sound design add to the emotional intensity, making the violence an almost captivating yet disturbing experience. In particular, the use of rock music and energetic beats heightens the contrast between fun and brutality.
An unpleasant parallel with the present
The show doesn't shy away from comparisons to modern politics, but it does so with more subtext than direct statements. At times, Gatiss suggests connections to contemporary political figures, provoking slight reactions from the audience but without dominating the narrative.
In the end, Brecht's work remains a clear warning: the mechanisms of power and manipulation are not simply history of the past.
The play's finale, with a harsh and direct tone, completely strips away the irony and leaves the audience faced with a grim reflection on the nature of power and historical repetition. /GazetaExpress/
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