The Captain of Köpenick (Olivier, National Theatre), by Carl Zuckmayer. Play based on the true story of a prisoner, Wilhelm Voigt, who finds himself without papers and to all state intents and purposes thus without identity or even existence. Dressed up in a captain's uniform, however, he is able to lead some passing soldiers on an expedition to seize the contents of the treasury of the town hall. The production was held together by the amazing Anthony Sher. The first half dragged, with satirical society scenes and a sentimental subplot or two, which didn't carry much narrative power. It took off in the second half, though, with the central 'raid' scenes brought off with riotous humour. As so often in the Olivier, design concepts were needed to fill the vast spaces, and so we had huge skyscapes, dancing dummies and so forth. It all looked magnificent but rather over-produced. Somewhere in there amid all the dazzle and choreography was an ensemble play about a venal society and the Prussian reverence for uniform that lay behind the rise of Hitler. But it had the feel of a quintet being played by a symphony orchestra. Best moment was Sher, 'pots and pans'.Tuesday, 16 July 2013
The Captain of Köpenick
The Captain of Köpenick (Olivier, National Theatre), by Carl Zuckmayer. Play based on the true story of a prisoner, Wilhelm Voigt, who finds himself without papers and to all state intents and purposes thus without identity or even existence. Dressed up in a captain's uniform, however, he is able to lead some passing soldiers on an expedition to seize the contents of the treasury of the town hall. The production was held together by the amazing Anthony Sher. The first half dragged, with satirical society scenes and a sentimental subplot or two, which didn't carry much narrative power. It took off in the second half, though, with the central 'raid' scenes brought off with riotous humour. As so often in the Olivier, design concepts were needed to fill the vast spaces, and so we had huge skyscapes, dancing dummies and so forth. It all looked magnificent but rather over-produced. Somewhere in there amid all the dazzle and choreography was an ensemble play about a venal society and the Prussian reverence for uniform that lay behind the rise of Hitler. But it had the feel of a quintet being played by a symphony orchestra. Best moment was Sher, 'pots and pans'.