Savage is admiral in its efforts to spread information about the atrocities committed by lesser-known Nazi war criminal Carl Værnet, and his post-war escape to Argentina. Værnet was a Danish doctor who attempted to “cure” homosexuality, and his methods involved human experimentation on concentration camp inmates. After the war, he was captured and detained in a British prisoner of war camp, but was able to escape, with the British and Danish governments perhaps even aiding him in starting a new life in Argentina. Gay conversion therapy, of which Værnet was a proponent, is legal in the UK and Denmark.
Despite the play’s noble intentions, Savage is not particularly enlightening or powerful. As an exposé of Værnet, it provides only the most surface level information, and as a drama it falls flat. The emotional centre of the play is the relationship between gay couple Nikolai (Kerill Kelly) and Zach (Matthew Hartley). Unfortunately, rather than focusing on this relationship, and thus the direct impact on Værnet’s victims, the play is bloated with less compelling subplots: Værnet’s rising and falling professional success, and a closeted gay Nazi’s psychosexually troubled relationship with a male drag performer. Depicting events spanning many years, the play stumbles from scene to scene with little sense of structure or momentum. Few characters have agency, and those that do tend to make their most significant decisions between scenes.
Most characters are written to describe exactly what is happening in any given moment and how they feel about it, in language that switches from dry to flowery without rhyme or reason. As a result, there is little in the way of subtext, and no invitation for the audience to infer anything for themselves. The performances are equally uninspiring, with the actors flatly delivering their dialogue in affected RP accents, before erupting into a sudden, un-telegraphed emotional outburst.
Some of the performers do shine. Jonathon Nielsen Keen perfectly embodies the sardonic sass and self-confidence of a cabaret performer whose spirit remains unbroken despite the dangerous and traumatic situation. Kelly and Hartley have charming chemistry together, and in their final scene together, they each deliver powerful performances that feel sincere and raw.
There is an audience for Savage. WWII history buffs will no doubt find enjoyment, as will those especially curious about LGBTQ+ history. And – to reiterate – it is highly commendable that playwright Claudio Macor has chosen to shed light on this horrific chapter of history and draw parallels to present-day injustices.
Savage runs until March 15th at the White Bear, with tickets available at https://www.whitebeartheatre.co.uk/
Reviewer: Charles Edward Pipe
Reviewed: 27th February 2026
North West End UK Rating: