We round up the reviews for the London premiere of Erik Khan’s play, running at the London theatre until the 8th February.
Broadway World: ***** “Script and direction join forces to deliver an impressive, thoughtful project that, by covering an obscure event in the run-up to the bloodiest of genocides, screams a wary warning in a world of fake news and corrupt heads of state.”
All That Dazzles: *** “It is a fascinating dissection of an operation which, until today, I’d never heard of, and is performed with enthusiasm and energy by some talented folk. Its production value also holds merit – particularly the atmospheric, oppressive and claustrophobic lighting design by Ryan Joseph Stafford – but at ninety minutes long it feels a struggle.”
West End Best Friend: ** “Canned Goods seems uncertain of itself and what it wants to achieve. The premise is an interesting one, and there are certainly some interesting themes around deception and the violent theatrics of war – although the epilogue could do with a redraft that doesn’t wallop you over the head with metaphors. “
London Theatre 1: **** “This is a taut, tension-filled 90 minutes, with an ever-increasing palpable sense of escalating fear and emotional strain amongst the three prisoners, Honiok, a Silesian farmer of German/Polish origin, Kruger, a convicted thief, and Birnbaum, a Jewish professor of religion.”
The Reviews Hub: *** “Perhaps ironically for a play about the reliance of fascism on fake news, we find out that the primary source for the historical record of this incident is the statement of SS Major Naujocks at Nuremberg. There is a missed opportunity in Kahn’s script here: in its denouement, it attempts to puppet the audience but lacks the strings to do so. Perhaps there is something more twisted in the story itself resting heavily on the testimony of a man who would have been heavily motivated to absolve himself of responsibility in the aftermath of the war.”
Stage to Page: *** “This is a play which at its core has an interesting story, one which I would like to know more of but unfortunately this play does not give it the full justice it deserves and feels lacking at points. Perhaps a longer piece with more exploration of the men it centres around would bring it to life and help those emotional plot points hit a little harder.”
The Spy in the Stalls: *** “The conceit is rich in potential – stick three contrasting figures in a cell, give them an occasional stir by the provocative Naujacks (a lupine Dan Parr) and then set them raging against the dying of the light. But the three never have time to evolve much beyond their prescriptive origin stories, the script lacking rhythm and momentum in director Charlotte Cohn’s ambitious but over fussy production.”
British Theatre Guide: “There are touches of expressionism to the well-directed production from the moment we enter the auditorium to find the imposing, black-uniformed figure of Naujocks (Dan Parr) relaxing in a seat on the slightly raised performance platform. The lighting by Ryan Joseph Stafford gives a sinister feel to many of the scenes, and no more so than when Tom Wells suddenly emerges from a moment of darkness to become Adolf Hitler wearing a swastika standing at a mike, his voice being amplified to sound like one of those terrifying speeches the actual Hitler made.”
Theatre & Tonic: **** “The writing is well done by Erik Kahn; he has created a piece of theatre that is immensely thought-provoking and important in today’s society. Charlotte Cohn provides great direction, making good use of the small space at Southwark Playhouse Borough. The setting emphasises intensity and puts us right in the story from the start. Lighting by Ryan Joseph Stafford is earnest, used to identify the setting and importance of each scene. Overall, the production looks great and is convincing of the time period and environment they are in.”
The Stage: *** “With direction from Charlotte Cohn, these strong performances provide a humanising heart in this overly philosophical story of propaganda and state violence.”
Adventures in Theatreland: “Canned Goods tackles a significant event and handles it with care and theatrical supremacy, yet simultaneously dissolves the weightage of this event with the prolonged initial conversation. However the play soon recuperates and ultimately leaves the audience grief-stricken, horrified unsettled, and emotionally moved.”
To book tickets visit: https://southwarkplayhouse.co.uk/productions/canned-goods/