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An absurdly clever take on a hateful man.
Somewhat like Tom Stoppard’s “Rosencrantz & Guildenstern Are Dead,” this play runs with the idea that Der Fuhrer had multiple decoys to cover for him in different ways. As they are all gathered together one fateful night, they explore their jobs and quickly swirl into existential questions (as well as some ingenious anachronistic riffs).
The sight of multiple Hitlers on stage in and out of character is certainly full of comic potential, and the show explores the possibilities with gusto.
My favorite play of the 2017 Fringe so far!
