Written by Michelle Kholos Brooks
Runs at Greenside Infirmary, August 5th – 24th (Not 11th or 18th), 18.35pm
Fifteen women would carry out, what they consider, a job of notoriety and honour during World War II. With the risk of assassination peaking, they would dine on the foods of the Third Reich, no steak of course. They were guinea pigs. A first-line of defence for the Fuhrer from his enemies attempts at ending his rule. They were Hitler’s Tasters.
Until 2012, there was no confirmation of their existence, when the final living member Margot Wölk spoke out. The production, billing itself as a dark comedy, reads more like a drama with comedic elements. It’s a fascinating concept, three women confined to a cinder-block room. Where boredoms, jealousy and illuminating ideas of American film stars set in.
Hitler’s Tasters has another, important message behind its historical tale. Its a look at the banality of evil, seamless triumph in stirring hate, and how gullible people are when requested by their
President Fuhrer. Originating from the States, though entirely coincidental, the American voice hammers in transparent warnings we should recognise with 1930’s Germany.
There’s a trend of technology bleeding into a contemporary commentary. Selfies and Madonna were not the expected pass times of the women subject to this job. In a world of ‘insta-famous’, the decision to include phone-obsession for these women, who were still girls oversteps. The concept, the idea that they could be famous for their role in protecting the Fuhrer is an ingenious insight into young women’s influencer aspirations. The constant selfies over-stay their welcome though, belittling the weight of the production.
Here we have Hitler’s Tasters misstep. Dark comedy works at its best when paying respect to the subject. Comedy is the focus over story-telling. A shame, as Mary Kathryn Hopp, showcases a pathos, a genuine tear-building whenever the illumination of the guards bursts into the cell. The entire female cast has a tremendous sense of sisterhood, even when turning on one another.
With laughs, Michelle Kholos Brooks’ script misses the beat. Perhaps, at the risk of sounding pretentious, there’s a loss from their American audiences. For the UK, offence is a currency. A few moments are good jokes, punches which stir middle-class sniggers rather than bellyaches. Rushing pace, jokes don’t land as neatly as there’s a sense of sweeping it off the ground before causing insult.
Frustratingly, Hitler’s Tasters is a tweak from a contemporary, brass-neck smack at historical repression and the resurgence of political manipulation. As it stands, the ingredients lay on the counter – a starter awaiting a few more spices before serving the main course.
Tickets available from: https://tickets.edfringe.com/whats-on/hitler-s-tasters
Photo credit – Cody Butcher