Archduke – Royal Court Theatre

Rajiv Joseph’s ‘Archduke’ arrives at the Royal Court with an intriguing premise, imagining the lives of the young conspirators whose actions would trigger the First World War. On paper it sounds epic, and it promises a darkly comic examination of radicalisation, friendship and history, yet despite moments of theatrical flair, the production never quite justifies its existence. Although its themes remain strikingly relevant, this production struggles to offer a compelling dramatic perspective on such a familiar historical event, leaving it feeling oddly unnecessary

The greatest obstacle is its uncertain identity. The script lurches between historical drama and absurd comedy without ever settling comfortably into either. There are clear echoes of “Blackadder Goes Forth” and the anarchic wit of Monty Python, but the production never captures the sharp intelligence or comic precision of either. Instead, the humour feels erratic, often arriving at the expense of dramatic tension, leaving the audience unsure whether to laugh, reflect or simply wait for the next tonal shift.

The performances are equally inconsistent and uneasy. Mark Wootton’s portrayal of Dragutin “Apis” Dimitrijević is strangely pitched, leaning into an overly hammy and camp interpretation that rarely lands the rhythm of its comic beats. Stanley Morgan as Gavrilo and Abraham Popoola as Trifko are ultimately forgettable and, although both are given moments of humour, neither performance develops enough emotional connection for the audience to truly invest in their characters or motivations.

The strongest work comes elsewhere. Janice Connolly delivers the production’s most compelling performance as Sladjana, expertly balancing the warmth of a house cook with an unsettling, almost witch-like darkness that adds genuine intrigue whenever she appears. Chris Walley also stands out as Nedeljko, proving to be the cast member most naturally attuned to the comedy and bringing an ease and authenticity that much of the production lacks.

Visually, however, ‘Archduke’ is considerably more successful, and the production features several impressive set pieces (ES Devlin), most notably a full-size train carriage that creates genuine spectacle. Even when a malfunctioning train door briefly disrupted the illusion, the overall effect remained remarkably strong. Combined with exceptional lighting design from Neil Austin, and illusions from Skylar Fox, that continually creates depth, atmosphere and mystery, the visual design often communicates more effectively than the dialogue itself.

The production’s pacing also undermines its impact, and Director Lyndsey Turner should take note that running for around two hours including an interval feels noticeably overextended, with several scenes reiterating ideas rather than advancing either the narrative or the characters. As a new production of an older work, a more disciplined edit could easily have reduced the piece to a taut 90-minute performance without an interval, creating greater urgency and allowing its strongest dramatic and comic moments to land with far more precision.

Ultimately, ‘Archduke’ is an ambitious production with undeniable technical strengths, but its uneven performances, underdeveloped characters and confused tonal shifts prevent it from delivering either satisfying satire or compelling historical drama. Despite the significance of its subject matter, it leaves surprisingly little lasting impression, proving that even the most fascinating chapters of history require a clear dramatic vision to make them truly compelling on stage.

‘Archduke’ runs at The Royal Court Theatre until 25^th July 2026. Tickets can be purchased at https://royalcourttheatre.com/events/archduke

Reviewer: Alan Stuart Malin

Reviewed: 26^th June 2026

North West End UK Rating: