THE PASSENGER
Finborough Theatre
★★★★
“a beautifully directed production that recreates the dark moodiness of the 1930”
The Passenger, adapted by Nadya Menuhin from Ulrich Alexander Boschwitz’s novel Der Reisende, has just opened at the Finborough Theatre. It’s a story set in Germany just after the Kristallnacht in 1938. The protagonist, a successful Jewish businessman, is attempting to find a way out of Nazi Germany. This tense, nail biting drama, directed by Tim Supple, begins like a thriller, and takes off like one of the express trains our leading man is always boarding.
The novel’s author was drawing on his own experiences of escaping Nazi Germany in the 1930s. The host of memorable characters that emerge onto the tiny stage at the Finborough Theatre have the ring of authenticity. We follow Otto Silbermann’s journey from Berlin, where he is forced to sell his apartment for pennies on the dollar to a German friend. Then he signs over his business—his life’s work—to a non-Jewish partner in order to protect it. Silbermann knows Gustav is untrustworthy and has a gambling habit, but at this late stage in Hitler’s takeover, he simply has no choice. Through a series of misadventures, and failure to obtain an exit visa, Silbermann finds himself in continual transit through Germany’s cities, already in the throes of political conflict. He meets many different characters and becomes involved in their stories, despite trying to melt anonymously into the background. His attempts to find a way out of Germany, while carrying a large sum of money in his briefcase, grow ever more desperate. Menuhin’s dramatization focuses on themes of love and betrayal in The Passenger, even if the love story in this play is a man’s bewildered struggle against fascists that are taking over the land he loves and fought for in the First World War. Silbermann is married to a Christian, considers himself thoroughly German, yet is betrayed by his country, his friends and business partners, simply because he is a Jew.
The Passenger is a beautifully directed production that recreates the dark moodiness of the 1930s that we remember from films like The Third Man. Tim Supple keeps the company continually on the move around and about a simple square. This square, lined with seating, becomes train carriages, waiting rooms, and any number of spaces that Otto Silbermann encounters in his travels. As the audience, we’re right in the middle of the action as well, as the actors, dressed in period coats and hats, make speedy entrances and exits in front of us. (Set and costume design by Hannah Schmidt.) All this movement makes for a brisk beginning of the play. The atmosphere of the set design is powerfully enhanced by Joseph Alford’s sound design. It’s easy to convince ourselves that we are there in 1930s train stations. Mattis Larsen’s lighting is tightly focused on the action, giving us the sense of constant motion in a space much larger than the one we are actually seated in. The actors deserve credit for managing the precise choreography that ensures they never collide with one another, even while managing a host of complicated actions, including dressing the leading man.
Robert Neumark Jones convinces as Otto Silbermann, and he is accompanied by an equally talented ensemble on his travels. Ben Fox plays his swindling business partner Gustav with just the right amount of bluster. Eric MacLennan is an overly hearty chess playing SA man, and Dan Milne switches between sympathetic characters to sinister supporters of Nazism in the blink of an eye. Kelly Price plays all the female roles with sympathy, and glamour, when required. Menuhin’s script powers up like a thriller, all short, sharp scenes as Silbermann’s story gets underway. It does seem overly long at ninety minutes of playing time, but that might be because the action slows midway through. The story, like Silbermann, struggles to find its earlier pace as it drifts aimlessly from one destination to another. Once Silbermann has failed to escape from Germany, what is he doing, other than trying to keep out of the clutches of the Nazis? A more sharply defined goal in the second half might help our traveller reach his ultimate destination, even if it is a less than hopeful one.
The Finborough Theatre continues its well earned reputation for producing thoughtful scripts with this play. The Passenger certainly feels like it could eventually make the transition to a bigger stage, and a larger audience. It’s a timely period piece that reminds us, chillingly, that the past is never very far away.
THE PASSENGER
Finborough Theatre
Reviewed on 13th February 2025
by Dominica Plummer
Photography by Steve Gregson
Previously reviewed at this venue:
KAFKA | ★★ | June 2024
THE TAILOR OF INVERNESS | ★★★ | May 2024
BANGING DENMARK | ★★★ | April 2024
FOAM | ★★★★ | April 2024
JAB | ★★★★ | February 2024
THE WIND AND THE RAIN | ★★★ | July 2023
SALT-WATER MOON | ★★★★ | January 2023
PENNYROYAL | ★★★★ | July 2022
THE STRAW CHAIR | ★★★ | April 2022
THE SUGAR HOUSE | ★★★★ | November 2021
HE PASSENGER
THE PASSENGER
THE PASSENGER
