Venue: Kings Cross Theatre (Kings Cross NSW), Jun 15 – 30, 2018
Playwright: Justin Fleming
Director: Suzanne Millar
Cast: Thomas Campbell, Renee Lim, Yalin Ozucelik, Dorje Swallow, Jeremy Waters, Ben Wood
Images by Clare Hawley
Wagner’s first success was Rienzi, an opera about the rise and fall of a medieval Italian populist leader. Hitler fell in love with the work, years after Wagner’s death, and in Justin Fleming Dresden we see the unexpected and formidable ways in which art can inspire behaviour, good and bad. It also looks at Hitler as a failed artist, and proffers a chicken and egg scenario; questioning the relationship between that infamous abominable nature and his own deficiencies at artistic creation. Even though information about contemporary fascistic regimes seem to remain prominent in our consciousness, the play does not feel immediately relevant, but Fleming’s writing exceeds the story he tells. Against a backdrop monumental and historic, his words sing with an enchanting beauty, imparting observations that are succinctly constructed and very wise indeed.
Opera and a world war, give the play a sensibility that is unavailingly grand, but the small auditorium is ambitiously converted by set designer Patrick Howe to convey the sophistication associated with Wagner’s discipline, as well as the aesthetic severity of Hitler’s Germany. Benjamin Brockman’s lights are relentlessly theatrical, with incessant transformations that move us through dimensions, from miscellaneous days of yore, to those that are even more ephemeral and fantastical. Director Suzanne Millar very deftly negotiates the weaving realms of the play, taking us from real to imaginary, across terrains and timelines, for an impressively lucid telling of tales.
Yalin Ozucelik and Jeremy Waters are the leading men, both enthralling with their respective stage presences, and splendid with the dialogue that they are master of. As Wagner, Waters is spirited yet delicate, and as Hitler, Ozucelik’s depiction of cruel imbecility strikes a perfectly balanced act of dramedy. Also memorable are Dorje Swallow and Thomas Campbell, each supporting player demonstrating excellent versatility, proving themselves to be eminently watchable in any guise.
We often hear, that all publicity is good publicity. If all Hitler had wanted from his extreme brutality, was to be remembered, then the confounding actions of people in power everywhere, can begin to make sense. Most of us wish to leave behind some semblance of a legacy, no matter how minute, so that our time on earth can be seen to be of some value. Some want their names to last, but others prefer that what they had tried to generate in their own lifetime, is able to make permanent improvements into the future. Bad people exist, and as we negotiate existence around them, we must try to stop ourselves from fighting fire with fire. Good can turn into evil in the blink of an eye, when we let our guard down and start to emulate those who wish to trespass against us.