This is a play that feels as relevant now as it did when it was written by Bertolt Brecht in 1941.
We are transported to Chicago in the middle of the Great Depression. Times are hard and the underworld is ruled by gangsters. Can Ui save the city or is he just power hungry? Will anyone try to stop him?
From the very start the fourth wall is smashed down. This is perfect for the intimate setting of The Swan Theatre and helps to set the irreverent tone for the evening. From the stark grey and introductions to the characters, the stage bursts into colour and life. While many of the costumes are muted, there are splashes of colour and nods to a cabaret/circus feel in the set and costumes, both designed by Georgina Lowe. As the story and time develops, the clown style make up becomes more pronounced along with the costumes of a couple of the characters.
The staging is minimal but beautifully effective in setting the numerous scenes, aided by a screen which displays the location. Clever use of a moving structure changes the shape of the stage and creates surprises while also giving an area for the musicians and a higher acting level.
As all good mobster bosses must have, Arturo Ui is backed by a group of trusty henchmen, assisting him in his quest for power and domination of the vegetable trade in Chicago. One of these is Giri played by Mawaan Rizwan, he has an intensity that is seen and felt throughout, his eyes piercing as he moves around the stage. He has a physicality that adds an almost crazed feel, when paired with a manic laugh, you know Giri is not someone you should mess with.
Roma (Kadiff Kirwan) is Ui’s dependable right-hand man. A seemingly loyal, steadying presence in contrast to the excitable Giri and Givola.
LJ Parkinson (Givola) is deliciously sinister behind the smile, you get the feeling they would kill you with their charm, never more so than the scene in the florist shop.
While you are drawn to look at the henchmen with their exaggerated movements and pleasing appearance, the opposite can be said for Arturo Ui. His early appearance on stage is that of a almost grotesque Gollum like creature. He is hunched and unkempt, his gestures are small and awkward, his facial expressions and snake like tongue all combine to create a vision that you don’t really want to see. If you didn’t know the parallels that were being drawn, you would doubt that such a down trodden underdog could amount to anything. As his power grows, so, almost imperceptibly does his stature. Mark Gatiss is superb in the role of Ui, his moments of unsettling quietness and calm contrast with his outbursts of fury and frustration.
Music is an intrinsic part of the play, with a score is provided by British Rock Band Placebo, played live by four musicians on stage. It pairs perfectly with the action, adding to the tension and atmosphere.
At times it is uncomfortable viewing, with silences and action that go on beyond your expected length. At other times it is almost comical, with vegetable guns and deliberately over the top performances. it will certainly leave you thinking as it holds a mirror up to the world today as well as the past. Narration draws the parallels between the story and actual historic events in Europe under Nazi control, constantly reminding you that this isn’t just for entertainment.
This could be one of the most thought provoking pieces of theatre you will see, delivered in style and with extraordinary talent from all involved.
Reviewer: Annette Nuttall
Reviewed: 27th April 2026
North West End UK Rating: