The Resistible Rise of Arturo Ui

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Riveting

'The Resistible Rise of Arturo Ui', Berlolt Brecht's allegorical 1941 play, is a satire of Hitler's rise to power in Nazi Germany. Set in 1930's Chicago, it follows fictional character Arturo Ui, a ruthless and paranoid hoodlum who takes advantage of economic instability to take control of the vegetable trade through fear and the violence of his henchmen.

All of the characters and events mirror real-life people and happenings in Nazi Germany, from the gangster Ernesto Roma representing Ernst Rohm, to the warehouse fire representing the fire at the Reichstag.

The play has the stamp of Brecht's 'epic' style of theatre, it opens with a prologue outlining the main characters and subsequent plot, giving the audience a better chance to focus on the message. To further clarify the parallels between the stories, details of Hitler's rise to power are bellowed through a megaphone during set changes by George Seremba. The dramatic technique of planting extras in the audience gave an extra dimension to the play, giving you a real sense of being part of the proceedings.

The scene of the farcical trial is the most visually stunning of the play, where Ui is presented as a 20ft judge towering over the courtroom as an innocent man is framed for a deed he did not commit. Playing up the perverted justice of the times by enlarging the judge to such ridiculous proportions sounds laboured and heavy-handed, but it was entrancing to watch.

Conor Murphy's accomplished set design sees the stage strewn with meat hooks, vegetable crates and off-kilter benches, with large neon signs gliding up and down above the scenes. From a palette reminiscent of sepia toned photographs with lots of grey and brown, splashes of blood red in roses, lipstick and bloodied carcasses are all the more evocative. The costumes are wonderfully realised, from the sharp mobster suits and trench coats to the gorgeous Marilyn Monroe-esque evening gowns of the femme fatale Betty Dullfeet (Brennan).

Tom Vaughan-Lawlor's Arturo Ui is mesmerising. He is in turns hilarious and chilling at the egomaniacal gangster. His energetic performance is part clownish Charlie Chaplin, mixed with Hitler's strong mannerisms. Stooped over and frantically gesturing at all times, with a strong Chicago drawl, he puts on a tireless performance throughout. The supporting cast are all excellent, from Eamon Morrissey's corrupted and ageing Dogsborough to Aidan Kelly's brutal bad guy Roma.

Coming in at just over two and a half hours, the first act, in parts, seems bloated, but the action speeds up leading up to the interval, and the second act is utterly entrancing. The play is full of black humour - riveting and a pleasure to watch unfold due to the strong performances, flawless stage production, inspired sets and lighting and the chilling resonance it still has today.

Sarah McIntyre