Dr. Strangelove

Giles Terera, Steve Coogan, Tony Jayawardena, Mark Hadfield , Oliver Alvin-Wilson in Dr. Strangelove.

Photograph: Manuel Harlan

*****

Movie aficionados claim it as a modern classic. Others claim it’s a cult classic. Others, still, that it’s an outdated classic. Whatever way you look at it, Stanley Kubrick’s 1964, anti-nuclear satire, Dr. Strangelove, has classic movie written all over it. So why mess with it? Why transfer what was purposely designed for a black and white screen sixty years ago to the contemporary stage? Especially if contemporary relevances are thin on the ground? Then there’s those iconic performances. Sterling Hayden, George C. Scott, Slim Pickens along with Peter Sellers in a trio of roles. Why compete when you know you can’t compare? But that’s asking the wrong question. The question is not how does the stage version compare with the original movie, for nothing can compare with the original movie. Rather, the question is does it succeed on the terms it sets out for itself as a piece of theatre? In that regards, Dr. Strangelove most definitely succeeds, with Steve Coogan being something of a tour de force.

Steve Coogan in Dr. Strangelove. Photograph: Manuel Harlan

Throughout, director and adaptor Sean Foley, along with co-adaptor Armando Iannucci, remain true to the original script, arguably to a fault, injecting the odd modern reference. A superb opening song and dance routine, the device humorously circled back to at the end accompanied by Vera Lynn, introduces gung-ho General, Jack D. Ripper. A terrific John Hopkins as the cigar munching psychotic who dispatches a fleet of B52 bombers to launch a nuclear attack on Russia in the 1960s. Efforts in the Presidential War Room to call off the attack being thwarted at every turn. Even though the consequence is total annihilation from a Russian Doomsday defence system. After which we’ll meet again, or won’t, if the bombs drop. So what has this to say to a modern world where nuclear annihilation is not as pressing as during the arms race era? Again, wrong question. It’s not about nuclear power but about the misuse of power. About lies, prejudice, misinformation and disinformation informing major military decisions. Of putting idiots in charge of our fates and futures and wondering how it all went wrong? Of stupid doing what stupid does. Of how you can’t reason with crazy. Starting to sound familiar?

Steve Coogan and Giles Terera in Dr. Strangelove. Photograph: Manuel Harlan

Under Foley’s excellent direction a strong cast, including Giles Terera as the warmongering General Turgidson, Tony Jayawardena as the bewildered Russian ambassador Bakov, and Mark Hadfield as Presidential assistant Faceman, keep the laughs and insights coming. But it’s a phenomenal Steve Coogan who brings it together, elevating Dr. Strangelove into something special, drawing on both his comic and straight acting talents. Whether as the eponymous blonde scientist and former Nazi pining for the gold old days, which, of course, were dreadful, a straight up President Muffley, a beleaguered RAF Captain Mandrake or the Gung Ho Major Kong, Coogan is mesmerising; the mind boggling at the sheer number of costume changes. But even Coogan risks playing second fiddle to Hildegard Bechtler’s superlative set design basking in Jessica Hung Han Yun’s terrific lights. War Room, General’s Office, plane cockpit, Bechtler’s set eases from one to the other effortlessly. Akhila Krishnan’s stunning projections offering a visual threat as the bomber flies towards its final destination, and that iconic rodeo ride.

Dr. Strangelove could have done a lot of things differently. Indeed, there are as many opinions as to how it should have been done as there are opinions. But, again, the question is does it work on the terms it set out for itself? A question already asked and answered. Which leaves only one question remaining; when do I go see it? The answer; as soon as is humanly possible.

Dr. Strangelove, adapted by Armando Iannucci and Sean Foley, based on the motion picture by Stanley Kubrick, presented by Patrick Myles and David Luff, in association with Tulchin Barter Productions and Playful Productions runs at Bord Gais Energy Theatre until February 22.

For more information visit Bord Gáis Energy Theatre