Review of ‘Dr. Strangelove’: “The wheels are in motion”

The London scene welcomes the first-ever stage adaptation of a Kubrick film, through the West End premiere of Sean Foley’s take on the 1964 dark comedy classic. Guillermo Nazara shares his views on the show,  to let us know if this Cold War spoof starring Steve Coogan ends up being a box office bomb.

Oh, I just love it when a show celebrates my first language, even if it’s just a hint of it. I must say, every time I saw all those military heads planning to destroy Laputa, I couldn’t help but feel that rush of joy that only multi-tongue environments can provide you with… Thank you. Get ready to shoot – it’s war time, Cold War time (the other thing can wait). Kubrick’s revered cinematic classic has just detonated its dark, camp humour on the West End stage – bringing back everything we could ever hope for when it comes to former Nazi mad scientists helping ease the tensions between the Americans and the Soviets.

Adapted by Armandi Ianucci and Sean Foley (also behind the production’s direction), the story deals with the US President’s crisis cabinet upon an unauthorized attack by a deranged air brigadier  – destabilizing the already volatile relationships between the two sides of the world, and thus requiring an imminent solution to prevent, to put it mildly,  humanity from being completely wiped out from the face of the earth. It does sound all in good fun, doesn’t it?

Well, to be fair, there’s a good chance you will burst into laughter quite a few times. Delivering a rather faithful approach on the original material, Strangelove‘s satirical depiction of what, if not the, is by all means one of the major political events that defined the course of the 20th century, still encapsulates the explosivity that made its comedy so terribly hysterical: it’s rough, droll and unapoletically bold. Yet, it’s difficult not to acknowledge that, by the time the performance starts, half of its fuse may have already burnt out.

Though preserving its nuclear energy all throughout, the amusement seems to go up and down in an over repeated cadence. There are moments that will genuinely make you roar (the lady sitting in front of me was not too happy about that, though…). But we also encounter too many bits which, as much as they may contribute to the narrative’s evolution, lack the necessary strength to keep the viewer entertained – let alone, hooked. As a result, we’re taken on a journey featuring some unrequested bumps – where some of its devices are perfectly timed, but where we are also bombarded with elements that, on the whole, don’t give that much of a thrill.

Featuring sets and costumes by Hildegard Bechtler, the production’s visuals pose as a strong and generally well-executed (no pun intended) asset. Though not the most spectacular, Bechtler’s blend of practical props with screens and video designs manages to serve its purpose rather successfully – which, combined with Jessica Hung Han Yun’s suggestive lighting, is able to concoct a tangible atmosphere that both entices us and transports us into the story’s universe with sufficient adroitness.

A quintessential farce from plan to action, the final victory in its strategy relies on the strength of its platoon. Luckily enough, the troupe gives a most compelling rendition – with practically every member exuding great rapport, comedic stamina, and foolish charm. Among them, a first mention is earned by John Hopkins, for his infectious, and quite chucklesome portrayal of General Ripper. However, the biggest praise goes, indisputable, to Steve Coogan in the quadruple role of Mandrake, Muffley, TJ Kong and Strangelove – jumping from character to character with effortless conviction, and endowing every one of them with entire individuality and superb memorability.

Far from feeling like a shell of a show, Dr. Strangelove is still capable of projecting wit and sharpness in alliance with the overall absurdist tone of its narrative. However, it misses a few targets by not securing a steadier degree of effectiveness in relation to its funniness, development, and resolution. Suffering from a slightly off rhythm at some points, while also struggling to generate a proper sense of fulfilment all throughout, the production comes as a sour triumph – bringing some honorary grants home, but leaving a few significant casualties along the way. It’s far from being a failure, though, as the show flaunts enough sassiness and whimsicality to make up for any unresponsive excerpts. And as much as those may be closer to imploding, chances are you’ll still have quite a bit of a blast.

All pictures credit to Manuel Harlan.

Dr. Strangelove plays at London’s Noël Coward Theatre until 25th January. Tickets are available on the following link.

By Guillermo Nazara