29 December 2024 I 14:30 I Noël Coward Theatre, London
⭐⭐⭐⭐
I wasn't certain that I would enjoy this show, pessimistic even. Labelled as a dark comedy and political satire of nuclear fallout, I expected an aged humour that audiences would feel guilty for laughing at. Instead, Sean Foley & Armando Iannucci's Dr. Strangelove treats us to stupidity in superior style, meticulously crafted wordplay that pokes fun at Cold War tensions without overstepping. This adaptation of Kubrick's 1964 blockbuster knows exactly what it wants to be, delivering chuckles in all the right places, well distributed jokes opposed to a barrage.
Reaching 61 years since the film release, the story observes a US General's attempt to "pretaliate" against the Soviet Union, ordering a nuclear strike thus threatening global consequence. Warned of the Soviet's Doomsday Device, time is running out for President Muffley to turn these planes around, enlisting the help of scientific advisor Dr. Strangelove to avoid disaster. Some events are preventable, others not so much.
Fronted by Steve Coogan, he is a titan of the stage depicting four roles in this production, sometimes portraying multiple characters in the same scene! This multi-rolling is not done as a gimmick, to get a reaction. It is genuinely an impressive feat, with all four personas receiving the same amount of acted precision. You really come to appreciate the WHAM and Wardrobe teams backstage (led by Pamela Ip and Claire Hartley) in allowing these swift changes to appear effortless. Magnificent energy from Coogan that never falters, it is easy to forget that he is performing a theatrical marathon eight times a week with ease!
I am able to see this production thanks to front row stalls tickets, reduced in price due to restrictions. For only a couple of minutes, your view of performers is severely limited, although there is nothing physical of interest, only dialogue. It does not impact your experience, and I reckon these are the best seats in the house! Transitionally, you feel extremely close, and it is entrancing to be swept away in the rush of cinematic warfare cutscenes.
Hildegard Bechtler's set is immaculate, monumental visions with a slick consistency. Obviously-placed downstage transitions often mask the hulking task of interchanging set pieces, yet consider me distracted! The only knowledge I previously had in regards to Dr. Strangelove was the infamous 'Riding the Bomb' image, which can feel underwhelming here considering its iconic stance.
To my surprise, the play is bookended with two musical numbers, where notably a rendition of Otis Redding's Try A Little Tenderness sets a confident tone, a rhythmic addition that encapsulates 60s charm (accompanied by a delightful pre-show setlist!). The song can be interpreted as patriarchally condescending, or perhaps in genuine sincerity. Either reasoning acts as satire of female disparity in wartime conversations, with the irony of an intensely male cast. Giles Terera (Turgidson) really shines through this opening, and maintains a tremendous comedic timing through his script work.
Dr. Strangelove's theatre premiere may not prompt hysterical bursts of laughter alongside a predictable structure, though it succeeds in a steady comedy fit for a wide range of audiences. The Noël Coward Theatre run in London will shortly finish, soon visiting Dublin's Bord Gáis Energy Theatre. I would positively recommend attending the recorded screenings of this performance, in cinemas from the 27th March, and I can guarantee you will be amazed by the craft!
Oh, and one more thing... No fighting in the war room!
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