The Royal Court Theatre's latest production, 'Archduke', offers an unconventional and darkly comedic exploration of the events that precipitated the First World War. Rather than a straightforward historical drama, the play delves into the days before the assassination of Archduke Franz Ferdinand through the lens of a comedy of errors, drawing comparisons to works like 'Withnail and I' and Chris Morris's 'Four Lions'.
Set primarily in the subterranean tunnels beneath Serbia, the narrative follows two impoverished and ailing young men as they are drawn into a nationalist militia. Their immediate desires for basic comforts and human connection are quickly overshadowed by the grander, more sinister plans of forces beyond their comprehension, which ultimately lead them to the streets of Sarajevo. The play's unusual tone maintains a surprisingly upbeat disposition, despite its underlying theme of vulnerable individuals being groomed for acts of war, a subject that resonates with contemporary global challenges.
Writer Rajiv Joseph employs a narrative style reminiscent of Harold Pinter's 'The Dumb Waiter', presenting naive characters entangled in murky affairs, struggling to grasp the true nature of their involvement. However, 'Archduke' distinguishes itself with a largely breezy execution, incorporating physical comedy, visual gags, and even moments of magical sleight of hand. The production features strong performances from its young cast, but it is Marc Wootton's portrayal of The Captain, the leader of the Serbian nationalist cell, that reportedly steals the show. His performance is described as combining the bombastic energy of Brian Blessed with the unsettling sexual menace of Uncle Monty from 'Withnail and I', as he affectionately refers to his recruits as "My boys" even while hinting at their eventual need for cyanide.
The visual spectacle of 'Archduke' is further enhanced by Es Devlin's magnificent set design. The underground tunnel setting, which makes expert use of forced perspective, seamlessly transforms to depict the opulence of a sleeper train and the imposing darkness of a chapel. This dynamic set contributes significantly to the play's immersive experience, underscoring the shifting environments and psychological states of the characters.
Similar to Chris Morris's controversial film 'Four Lions', which followed a group of aspiring Islamic martyrs, 'Archduke' suggests that humour can serve as a powerful tool for confronting deeply disturbing subjects without trivialising them. By allowing audiences to laugh, the play provides an avenue to engage with themes that might otherwise be too grim to approach directly, offering a unique perspective on radicalisation and its historical roots.
For those interested in exploring the complex interplay of history, comedy, and social commentary, tickets for 'Archduke' can be booked via the Royal Court Theatre's website.