The Act

When comedic double act Hansen and Frink are brought under strict concealment to perform for the Gestapo, it has to be seen that intrigue, conspiracy and drama would ensure. But comedy? Yes, that too. Set in Germany during WWII, The Act, is imbued with a flourish of slapstick comedy, cutting wit and the black humour of 1980s British comedy. While some of this humour does not translate well for a modern audience, the jokes proved a pleasant homage to a time gone by and provided a real jaunt for a more seasoned audience.

Act II is where the real meat and drama seep out of the pores, proffering tantalising philosophical debate to titillating effect. The intimate and ornate setting lures us into the core of the story and to the feelings of tension, urgency and insecurity that drive it – and the characters – to find answers and to ultimately stand up for their beliefs. Why were they brought here? Who summoned them? What “act” are they meant to perform? Will they make it home alive?

As Hansen recounts, “we don’t tell stupid jokes, not jokes that get us shot.”

In this final act, the power of the play and the intensity of its themes are drawn out and deliberated. A more sinister side of Captain Steiner – the man who summoned the protagonists for their ebullient talents – is channelled and we are hit with the abhorrent reality of life during WWII. This is where the depth of the story and the weight of its themes of survival, beliefs, religion versus socialism, integrity and friendship come out. In rehearsing their play within a play, the characters invite us to debate our own views of morality, justice and truth and to experience, with aching empathy, the pains and torments of living in an unfathomable era of “evil”.

The actors perform strongly, especially the likeable comic duo who play keenly off each other and whose close friendship is clearly defined. With this said, some of the gags required more slick precision in timing and commitment for better comic effect.

The Act is a profound, intelligent and beautifully written play, which was well executed and which takes a sensitive look at the nature of cruelty and the beliefs or propaganda that can turn ‘good’ men to ‘evil’. Very thought provoking and thoroughly engrossing to the end.

3.5 out of 5 stars

The Act
Written by Richard Langridge
Director: Sandra Bates
Composer and Sound Design: Daryl Wallis
Lighting Design: Trudy Dalgleish
Wardrobe Coordination: Lissette Endacott

Cast: Daniel Mitchell, Mark Kilmurry, Michael Ross and Brian Meegan

Ensemble Theatre
2 February–4 March 2012
Bookings: ensemble.com.au