There is very little I can say about Adolf without ruining the game. Pip Utton has written and performed the show in order to explore just exactly what it was that compelled people to follow Adolf Hitler. Were they in a trance, mesmerized by his charisma? Were they evil people who agreed with his prejudicial policies and were fully aware of their actions? To answer these questions, Utton brings prejudice and racism frighteningly and horrifically close to our own lives.
The resplendent Ballroom of the Assembly Rooms is bathed in a red light, the stage is hung with the Nazi flag and a clock ticks down to Adolf’s death as he bids farewell to his followers, explaining his decision to end his own life. Being a member of the audience is distinctly uncomfortable from the start, but this discomfort is nothing compared to the sheer horror you feel at the end. Utton’s Hitler is calmer than you might expect, less fanatic, compelling you to believe it was all for the greater good. This is a Hitler who loves Eva, considers his pilot his best friend, and tells his comrades to ‘get out while you can.’ At the end of the first forty five minutes, you might even feel a little disappointed by a somewhat diluted Hitler.
But then something happens. And this something is one of the best devices I have ever seen used in theatre. By the end of the next forty five minutes, you will be questioning everything. You will be gobsmacked and ashamed of the people in the auditorium with you. You might be questioning yourself. You will not have enjoyed the experience. You will, however, recognise the harsh and colossal importance of the lesson that has been taught here. I can offer you only one warning: under no circumstances should you leave the theatre.
