Review: Is Doomsday Upon Us? Can Dr. Strangelove Fix it?
Bringing the classic 1964 film to the stage, this adaptation captures the essence but falls short of its full potential
★★★☆☆
Adapted from Stanley Krubrick’s classic film by Armando Iannucci and Sean Foley, currently playing at the Noël Coward Theatre, it ambitiously seeks to blend political satire with dark comedy. With British comedian Steve Coogan at the helm, taking on an impressive four roles, the play delivers moments of laughter and wit. However, while it has flashes of clever humor, striking performances, and a couple of musical numbers, this play lacks a consistent comedic punch, leaving audiences with an enjoyable, though not entirely groundbreaking, show.
Coogan’s performance is, without a doubt, the highlight of the play. Watching him embody four wildly different characters is a marvel in itself: he deftly switches from a British Royal Air Force general (who comes across as a thinly veiled parody of King Charles) to a slightly bumbling American president, then to the titular Dr. Strangelove, a former German scientist with a robotic arm and leg, and finally, to a maverick American pilot with a penchant for chaos. Coogan’s knack for accents and his sheer physical energy make these transformations seamless and, often, hilarious. His Strangelove teeters between unsettling and absurd with his sporadic arm spasms and twitchy German accent, a character he renders with both menace and a kind of slapstick humor that feels particularly suited to his talents. One can only imagine the logistical and physical feat he performs behind the scenes, racing through lightning-fast costume changes in what must feel like a high-speed relay race.
The supporting cast also brings strength and dimension to the play, particularly Giles Terea as General Turgidson and John Hopkins as General Ripper. Terera’s Turgidson is a loud, brash counterpoint to the more subdued leaders in the War Room, adding a touch of irreverence that shakes up the scenes in just the right way. Hopkins’ portrayal of General Ripper is equally memorable—he embodies the hardened, conspiracy-spouting military type with a nuanced touch, playing off Coogan’s characters effectively and providing some much-needed dramatic weight to balance the comedy.
The production’s design elements also deserve applause, thanks in large part to the meticulous set design by Hildegard Bechtler. Bechtler’s War Room is grand and imposing. The stage’s circular table, towering “Big Board” screens, and oversized ring light looming ominously over the action create an atmosphere that feels both familiar to fans of the film and immersive for theatergoers. This attention to detail helps ground the production, allowing the audience to suspend disbelief and feel transported to the Cold War-era Pentagon. Each setting, from the War Room to the aircraft, captures the historical period beautifully and subtly reinforces the story’s heightened tension.
Under Sean Foley’s direction, Coogan’s rapid transformations are woven into the choreography, allowing his characters to seem as if they’re ever-present, even as he slips backstage to reemerge as someone new. Foley manages the near-impossible feat of making it appear as though the character Coogan was playing remains in the room, though he's already stepped into the shoes of another. This sleight of hand creates a strangely surreal, almost dream-like effect, contributing to the absurdist tone that Dr. Strangelove is known for.
Where the play falls short, however, is in its script. Its comedic beats are sharp but not always as impactful as one might hope. There are certain jokes that seem aimed at American audiences, particularly around the pomp and circumstance of military figures and the absurdities of bureaucracy, but British audiences at this performance responded with similar humor and amusement, suggesting the universal appeal of the story's core absurdity.
In sum, this play is an ambitious, well-executed adaptation that entertains and amuses, even if it doesn’t always deliver gut-busting laughs. Coogan’s impressive performance, the striking set design, and Foley’s skillful direction come together to create a theatrical experience that explores the darkly comedic chaos of war and power. While the writing may not reach the heights of Iannucci’s or Kubrick’s best satirical work, the effect is a thrilling, slightly surreal mix of comedy and Cold War conflict.
That’s just my take. If you get the chance to see it, you might find yourself drawn into the dark absurdity of Dr. Strangelove, a story that remains eerily relevant to this day.
Dr. Strangelove - Noël Coward Theatre
Attended on 4 November 2024