Camp Siegfried, Old Vic Theatre, ★★★★★

When I finally arrived at a very cool, airy and spaced-out Old Vic Theatre, I was so happy, for more reasons than one! In my tired, end-of-the-week theatrical state, for some unknown reason, I’d convinced myself that this new play by American writer Bess Wohl was at the Royal Court, in Sloane Square. On my way there, I’d even semi-planned my opening gambit about my memories of the first time I’d seen a play at the illustrious Court. It wasn’t until I stood outside, and was confused as to why the iconic red neon letters did not spell out Camp Siegfried that it dawned on me, that I’d done a big faux pas! Luckily, as I like to arrive early, I just about had time to dash back-over the river to Waterloo, towards the equally iconic Old Vic. Not the best start to an evening at the theatre!.

Another curious coincidence, is that many of the plays I’ve seen this week have had a strong Jewish theme. But far from the emotionally charged, family tragedy of Stoppard’s stunning Leopoldstadt, Wohl's new play tells the complete opposite story of two young people, who find themselves in a Hilter Youth styled camp, in the USA.

Camp Siegfried is based on a real family summer camp located near the town of Yaphank on Long Island, New York, at the end of the 1930's. The admiration and idolisation of Adolf Hitler is growing, as is his political propaganda to create a greater Germany, and ultimately and ironically ’make America great again’.

We are introduced to the seemingly naive Her (Patsy Ferran) and her new friend Him (Luke Thallon), who are clearly flirting at a dance in the camp. While the Oom Pah Pah band is inviting them all to the dance floor, these two potential young lovers have other moves in mind. 

Through a series of clever scenes that not only conveys their ever-closer relationship, but also the changes in character, as she becomes visibly more confident and him less so. The need to create a new Ayran Master Race,  one of the ideologies of the Nazi propoganda, has clearly been pumped into the mentality of the alpha males of this generation. Her unexepected triumph over his bravado, is brilliantly conveyed by Ferran's subtle but powerful portrayal, clearly showing why she was awarded the Olivier for best actress in 2019, for her part in Tennessee Williams's Summer And Smoke at the Almeida. 

It was this ever-changing perspective and political awakening that I found so captivating in this stark but stunning production directed by Katy Rudd and designed by Rosanna Vize. At times, it had the essence of Wedekind's 1891 German play, Spring Awakening, adapted into the successful Broadway musical by Sheik & Sater in 2006, as these young ones explored all aspects of their coming-to-age journeys. It also shows how easily influenced their generation was, not only on their vaterland homeland, but also many miles away, in the USA. 

Her passionate opinions and vision of this potential perfect utopia, drawn from her research in books and her teachings at Camp, is scarily credible. The anger and hate generated by the Nazi’s towards the Jews, shows how easily influenced these lambs-to-the-slaughter, really were. 

Ferran and Thallon's portrayals and stage presence, on a pretty much bare stage, along with their perfect diction that filled every corner of this iconic theatre, is truly memorable. Wohl's dialogue and tightly constructed story is equally memorable, with just the right balance between emotion and entertainment, to take these two characters on a life-changing experience, over one summer in their lives. Unlike Leopoldstadt's straight-through 130 minutes marathon (which did cause a little discomfort to my derrière!) this powerful 90 minutes completely captured my attention and imagination throughout.

Camp Siegfried, Old Vic Theatre, ★★★★★