Saturday 4th September
18:00 – Doors open
19:30 – Performance begins
21:30 – Performance ends
22:00 – Final doors
£35 – Ticket
Written and performed by Pip Utton
Directed by Guy Masterson
One of the most successful solo shows of the past 25yrs, ‘Adolf’ has played in over 20 countries to rave reviews and awards. Still touring widely, it recently won the annual Spevtaki ‘Best One Man’ play. Directed by Guy Masterson, ‘Adolf’ furnishes an acute anatomy of fascism; its ideological justification, its poisoned utopias. Looking uncomfortably like the Fuhrer, Pip takes his audience on a journey into themselves, facing their own intolerance and gently coaxing an understanding of the mind-set of a nation that could allow such a man to take control.
“Terrifying beyond expectations, Adolf leaves as profound an impact as ever.” The Skinny ***** 2019.
“If you only see one show, see Adolf” – BBC Radio 4
“Will leave you gasping…so devastating” – Time Out
“Terrifying, searing, transfixing” – The Scotsman
53 Mount Ephraim Lane, London, SW16 1JE
We are regrettably not able to offer refunds for this event. However, if the event cannot go ahead, then the organisers will of course refund your purchase.
In the instance of inclement weather, the venue will remain outdoors but will be covered and therefore the event will continue. Just make sure to bring a woolly jumper!
The Fringe may abound with envelope-pushing comedians and cabaret acts aiming to shock, but the most provocative man in Edinburgh could well be middle-aged actor Pip Utton.
Utton has become a Fringe staple, the master of the monologue. This year he is also appearing in two other original plays as Charles Dickens and the Hunchback of Notre Dame. But Adolf is almost certainly his most challenging performance.
The stage is dramatic yet stark – an illuminated Nazi banner, a chair and a table draped in red velvet with a flickering lamp and a glass of water. Hitler is awaiting the imminent fall of his empire from the safety of his bunker, and the audience are his party faithful. His farewell becomes a drawn-out monologue as he ruminates on his motivations and accomplishments.
Light and sound are used incredibly effectively here. Each time Hitler is carried away by his vision of a warped utopia, each time his strength and conviction are renewed, the lights go down, a spotlight is focused on Utton and his voice echoes as Hitler is swept up in his own sense of power.
This show is actually a perfect example of the end justifying the means. It is certainly one of the most challenging pieces of theatre you will ever see. At this performance a sizable chunk of the audience walked out, viciously heckling Utton in the process. Which only served to make the final denouement even more powerful.
This show is hateful, divisive, challenging, even monotonous in parts. It is horribly uncomfortable to watch. But whatever you do, stay until the bitter end. Otherwise you will be depriving yourself of one of the most powerful pieces of theatre you will ever see.
British Theatre Guide
On a darkly lit stage with only a small table and chair to break up the stark significance of the crimson Swastika banner hanging in a spotlit solitude behind the stage, Pip Utton gives us Adolf Hitler. Stepping onstage with a vibrant pace he commanded the attention of the entire room as the Fuhrer delivers his farewell speeches to his staff in his Berlin bunker, during the final hours of his life. Utton’s portrayal of Adolf is cleverly paced as periodically his speeches and asides break into fully rallying speeches, complete with echoing reproduction as if the audience were standing in Nurenberg itself.
What is most effective about Adolf is the clever slip towards the end, as the tone of the piece radically shifts. Utton’s transformation into his own voice and the subtle inversion of the concept is brilliantly constructed. Done so well in fact that sadly a few members of the audience left the auditorium, either in disgust or thinking the performance was finished. Luckily those who stayed till the end got to see a brilliantly chilling and ingenious piece of mastery which only goes to show the craftsmanship on display and certifies Utton’s place as one of the premiere theatre performers working today.
I first came across Pip Utton last year in a show called In The Name Of The Father, quickly coming to realize that this was an actor of tremendous power who had the ability to scare his audience with as little as a stare or a whispered word. This year, Pip Utton is back. Back with a show that has been here before and indeed has been all around the world with great success. Audiences from all walks of life have flocked to see him. To see a great leader. To see Adolf.
Pip Utton is scary. At least he scares the hell out of me. But when he slips on that jacket, that hair and that moustache, he becomes something that truly does make your blood freeze and your soul shrivel like burnt paper. Utton’s performance is brilliant, outstanding and downright terrifying. You cannot tear your eyes away and your ears are hypnotised by his words, which are perfectly written and researched. The audience are his and, for a while, you believe in what he is saying, which is probably the most frightening thing about the entire experience.
2005 marks the 60th anniversary of the end of the Second World War. Such shows, therefore, are inevitable. There are shows about Hiroshima, the Holocaust and Hitler. “Do we really want to see that?”, I hear you ask. “Take a look at the world around you. Isn’t that enough?”. Perhaps. It’ s your choice. Some shows, however, do a lot more than simply regurgitate the past. Some shows make you look into yourself and confront thoughts and feelings that you didn’t even know you had. Thoughts and feelings that will show their ugly face when you least expect them unless you search them out and understand them. Theatre cannot (or should not) think for you. But it can make you aware. Adolf is one of those shows that do just that. A truly eye opening experience.
Pip Utton’s show Adolf is one of the best theatrical experiences of my life. I can confirm that I cried. I’ll be thinking about it forever. Neil Kelso