Review of ‘Dr. Freud Will See You Now, Mrs. Hitler’: “Psycho-analytical play shows an id-entity but needs a stronger superego”

London’s Upstairs At The Gatehouse hosts the world premiere of this fictional account, starring two of the most defining figures of the 20th century. Guillermo Nazara shares his views on the show to let us know if its mindful narrative exhibits too many complexes.

Old-school parents would argue that an early slap on the wrist (or somewhere else) could prevent a lot of trouble in the future. It’s a notion that I’ve always been fervently opposed to — though, if we’re discussing Hitler, I might be willing to make an exception. Authors Laurence Marks and Maurice Gran may hold different views, however, as they offer us a fictional interpretation of what could have led one of the most infamous characters in all humankind to commit the most abhorrent crimes recent History has been blemished by.

Conceived under the general dramatic premise of exploring the root of evil, Dr. Freud Will See You Now, Mrs. Hitler puts the founder of psychoanalysis and the greatest perpetrator of antisemitism under the same spotlight, through an array of personal encounters where we see the evolution of a young, ambitious wannabe artist later turned into the most terrifying embodiment of hatred.

It’s an excellent idea that’s also decently implemented. Overall, the play is thoroughly entertaining and displays a strong enough grip throughout the entire narrative. There is sharpness in its writing, despite a few lines being slightly predictable, and the script shows an understanding of both pacing and character arc.

Marks and Gran bring up a compelling array of themes and handle them with sufficient deftness. On one side, we have the growing discontent of a traumatised young man trying to find his place in the world, hopelessly struggling to break from the chains of an abusive childhood by achieving any kind of success. Yet, his continuous failure to accomplish anything will be the seed for his scapegoating sentiments. On the other hand, we have an old man who’s savoured the finest form of triumph, and whose blinding optimism prevents him from seeing the imminent danger that’s coming for him.

There is a satisfactory degree of depth, with both roles concocted with enough uniqueness to separate themselves from their archetypal references. Nonetheless, the piece is far from flaunting the most honed finish. Although the dialogue flows, there is an underlying sense of rush tarring some key scenes — making the points with a blunt, straightforward approach, but not always allowing those to unfold completely. As a result, though the recount never presents us with any low moments, its slightly hasty undertone serves as a blockage to unleash its full potential.

Director Isaac Bernier-Doyle makes a competent effort at utilizing the venue’s limited space through dynamic blocking. It might not be polished to the extreme, but it’s still able to build rhythm and, above all, preserve the performance’s visual interest. Hannah Danson’s set design is one of the production’s most polished aspects, creating a multifunctional environment that evenly blends figurative touches with some strokes of abstraction. However, the transitions between scenes show a need for improvement — often depending on the addition of props whose entrance to the stage is rarely seamless.

Most of the cast make an extraordinary impression on the audience. Quiet and naturalistic, the deafening impact they, however, make is genuinely astounding. No excessive dramatism, no more weight or emphasis than the ones the words already carry by themselves. And it’s through that act of restraint that the true blast occurs. The highest praise goes to both lead performers, Jonathan Tafler as Freud and Sam Mac as Hitler, who play their roles with exceptional command, filled with layering and humanity, and accentuated by their prominent rapport.

Granting a tenuous soul to one of the most heartless individuals known to man, while making a resonant statement about antisemitism and discrimination, Dr. Freud Will See You Know, Mrs. Hitler delivers an engaging, thought-provoking narration. And though it may not constantly dazzle us with brilliance, there is an ongoing sparkle that makes it a worthy watch. It might also be amusing to see more of Freud’s phallic correlations stemming from Hitler’s discomfort, but I assume that’d be another type of play.

All pictures credit to Chromolume.

Dr. Freud Will See You Now, Mrs. Hitler plays at London’s Upstairs At The Gatehouse until 28 September. Tickets are available on the following link.

By Guillermo Nazara