Review of ‘Canned Goods’: “There’s too much left in the pantry”

The Southwark Playhouse hosts the London premiere of Erik Kahn’s Holocaust-themed play, dealing with a lesser-known vitriolic maneuver performed by the Nazis in their attempt to win the war. Guillermo Nazara shares his views on the show, to let us know if this new portrayal of humanity’s soulless side still takes audiences on a spirited journey.

Beware the kindness of those who act in the name of evil, as their glow may stem from the flames of hell. We all know tales about the Holocaust. We all have seen one. But no matter how many plays, films or books we may have come across, the most horrific example of human deprivation in recent history always finds a way to surprise us – returning with a brand new issue hidden under its blood-stained carpet.

This week, London’s Southwark Playhouse celebrated the premiere of Canned Goods, a play by Erik Khan exploring one of the most obscure schemes the Nazi military came up with during the war. Directed by Charlotte Cohn, the show revolves around three concentration camp prisoners and their relationship with a German SS officer. Two of them understand that they fate is sealed. One, however, keeps up the hope. What happens next is only for the records to tell…

An excellent concept able to draw some originality to one of the most recurring dramatic frameworks in the last two centuries, Khan’s writing style flaunts sharpness and poignancy all through its content. The problem relies on an incorrect use of structure and misuse of storytelling opportunities.

With an haunting ending that genuinely skyrockets the audience’s interest to a completely different level, it really comes as a shame that the piece relies on a excessively linear outline that struggles to move the action forward – putting too much emphasis on character contemplation, while letting its chances for a stronger plot development slip through its fingers right in front of the viewer.

With some overdone exposition and a minor absence of naturalness lingering in its dialogue, the script still manages to engage us all through the recount, but it strives to bring out the truthfulness, sympathy and connection we would expect from this type of narrative. Its premise is far from being one more Holocaust story, but most of its delivery feels exactly that way. As a result, we can be enticed, even gripped at some points – but sadly, never moved.

At the same time, though the scenes are, on the whole, compelling, there’s a minor lack of proper pacing in its general architecture, as well as not enough flow among them. Relying on a few overly heightened lines to bring more forcefulness to their conclusion, the effect tends to achieve the opposite effect, most unfortunately – leaning closer towards the cliche than the solid, meaningful component it attempts to be.

Featuring an in-the-round design by Mona Camille, the set serves its multi-purpose goal quite competently. However, its dynamism is somehow flawed by its exceedingly long transitions – often, too dependent on visible stagehands that must spend entire scenes next to the personages; ruining, to some extent, an illusion that could have been easily preserved should all changes be performed by the actors themselves.

In all honesty, though, we can consider the production a fairly enjoyable experience – despite the opaqueness of its subject. Part of that merit should also be attributed to its cast, with several renditions making a lasting and most refreshing impression. Among them, a first mention is earned by Dan Parr in the role of SS Major Naujocks – playing the character withe menacing allure and captivating presence. On the other hand, Rowan Polonski earns the highest praise for his portrayal of prisoner Kruger – bringing charm and vulnerability to this sincere depiction of a man desperate to survive.

Borrowing from a distinctive look towards history, but not entirely capable of translating that vision onto the stage, Canned Goods invites its guests to a banquet of first-rate raw materials. Yet, several key elements remain still undercooked, preventing guests from tasting the full potential of what could have definitely been a far more palatable jaunt. It has every ingredient to make of it a total triumph, but none of them are of any use if the lid is left unopened.

All pictures credit to Mark Senior.

Canned Goods plays at London’s Southwark Playhouse Borough until 8 February. Tickets are available on the following link.

By Guillermo Nazara