Hitler’s Tasters – Greenside Infirmiry

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

The Tailor of Inverness @ The Brunton

Image Contribution:
Dogstar Theatre

Writer: Matthew Zajac

Director: Ben Harrison

War and all of its travesties will never be understood. From the British perspective – we were the heroes, they the villains. When presented with people quite literally in the bootstraps of the opposition many are unable to connect. The stories told by people leaving the Third Reich behind are sometimes worn proudly, as a warning. Sometimes hushed, wishing to forget, but for the case of immigrants such as Mateusz Zajac, the reinvention of his time during the war is to ensure his acceptance in Scotland as The Tailor of Inverness.

The son of the Polish tailor, Matthew Zajac has endeavoured to get to the foundations of his father Mateusz’s life during his enigmatic years. Playing both the role of he and his father, this stage adaption keeps the descriptive plot and offers poignant performances with rich accompaniment by fiddler Gavin Marwick.

As the tailor’s strings are stitched, woven into his son Matthew’s jacket it’s within these threads we find the inherent fault with an otherwise remarkable piece of theatre. For those familiar, it’s no secret that Zajac’s writing is at its pinnacle superb, at its weakest complicated. Several threads are left untightened throughout the narrative, though with reason. When all the strands are in place – Zajac pulls the hems together and what we hope for is a tight piece where all threads align. In truth, it isn’t as difficult as others claim to follow – but for the general theatre-going public, it is not straightforward.

Zajac’s ardent performance inherently helps the story. As this is his story, his father’s story, the story of his family and his cultural identity – the delivery is natural. It’s volatile in its emotion, painful to hear, but eye-opening to watch. There’s merriment, dancing and humour – his performance isn’t only compelling, but enjoyable.

Where the theatrical adaption enhances the book, is with the ability to offer visuals. We see the interviews and hear the audio tapes Matthew has made in his travels. While we often enjoy making our own images, the projections allow us to invest so much more in this family’s growth story. The impressive set design, a series of garments flattened into a screen is an inventive method to allow for projection. The ridges in the shirt cuffs, however, cause obstruction of words if you’re far to either side of the theatre.

The theme of circling is eternally present in Zajac’s text, it’s themed such as a strive to battle against ourselves, identity and this complex narrative. The story told by his father, of circling a fox in order to snare it runs parallel to other events. The first, Matthew’s closing in around his father’s footsteps before his time in Scotland. More though, on the subject of immigration, is Mateusz’s reinvention of his past.

Immigration is not just a ‘current’ issue, tragically it’s always been an issue. Even in the reparations of war, Mateusz found himself in another circle – a circle of his own creation surrounding his time in the Soviet Union, as a soldier for the German side, but also a prisoner of war. The truth spiralling in on him, The Tailor of Inverness is indeed relevant still today, just as it was 10 years ago.

Transitioning to the stage works for The Taylor of Inverness, though only so much. The original text has space in order to lay it’s groundwork more seamlessly. The passion, power and triumphant ability within Zajac’s performance is commanding. Regardless of complexity, The Tailor of Inverness is still the construction of importance, an empathetic yet defiant examination of family, reinvention, storytelling and two men’s different but extraordinary journeys.

Review originally published for The Reviews Hub:
https://www.thereviewshub.com/the-tailor-of-inverness-brunton-theatre-musselburgh/

Production touring: http://www.dogstartheatre.co.uk/