Going Loco for Mephisto

Half a step away from the devil himself – Georgia Cudby, a skilled Bristol based freelance journalist and Acting alum of Bristol Old Vic Theatre School reviews the MFA Professional Actor’s production of Mephisto.

The truly immersive ‘Mephisto’ will (almost literally) grab you by the hand, spur you through a warren of tunnels and compel you to see the pain, joy, light and the darkness endured by a band of misfit thespians in 1920s Germany, leading up to the rise of the Nazi Party.

Set in post-WWI Germany, where hyperinflation and unemployment rates skyrocketed, most of the “Peppermill Theatre’s” theatrical troupe are steadfast to the cause of communism, hoping that, through their art, they can create a fairer world for all. However, a bad apple or two lurk among them… not everyone is guided by the admirable belief in a harmonious society and some have different ideas of how it will be achieved.

Hendrik (Philip Bayntun), a self-obsessed, ambitious actor, with a tendency for nervous outbursts appears to be fervently committed to the cause, at first. Supported by his friend and loyal communist, Otto (Liam Hickey) and the theatre’s Director, Magnus (James Hancock-Evans), who often takes the role of mediator in the troupe’s fiery debates, they seek to create theatre that stirs their audiences to “join the revolution”. Various politically-charged actors, writers and creatives throw their ideas, views and relationship dynamics into the mixing pot and so, chaos, comedy and heart-wrenching truths are born. When the “light of reason is being extinguished” in Nazi Germany, the importance of their work becomes desperate and dangerous.

There was surely no better setting for this bizarre and gripping play than the tunnels underneath Temple Meads Station (The Loco Klub). Uneven cobbled floors, craggy walls decorated with a rainbow of miscellaneous objects and a musty coolness which transported us back in time to a darker Europe. There was something a little strange about this place, a little dangerous perhaps, but it was clear there was an artistic love in its foundations, too. For the next two-and-a-half hours, as we watch this troupe of passionate actors solve the problems of their generation, we understand what it means to be underground, literally and figuratively. 

Carefully curated sets, props, period-fitting hairstyles, costumes and ghoulish makeup draw us further into our new twisted reality, helping us to focus on the high stakes situations unfolding in front of us. We are spellbound by the total dedication of the actors and I don’t mean the characters in the play, I mean the actual actors. There is no contrived imitation of life here; just courageous tenacity, abandon to the desires, troubles and complexities of their characters, executed with professionalism, comedic flair and sharp vocal and physical technique. You totally forget that these performers are students and I am so glad to see that such talent will be entering the industry imminently.

Scattered across the burrows where these skilled actors played, whether we were at a train station, in a dining room or watching a rehearsal at the “Peppermill Theatre”, we were lucky enough to be, perhaps, half a meter away from a meaningful glance, a wholesome handshake or an exhale of desperation. This is the beauty of immersive theatre; audience members were sat amongst the plotting troupe, an active part of the problem-solving. Our actors can sing, too, and play various instruments; it was such a joy to be amongst their sweet voices and not twenty meters away at the back of the stalls. I wondered why we ever thought end-on theatre was the way.

There is no competition amongst these actors; they work in perfect harmony to keep us on the edge of our various seats. It is through their exemplary skill alongside a clearly spirited production and creative team that we understand a plethora of experiences in a punishing time. Importantly, we see, too, how, in this ruthless country, an inflated sense of self-importance can have ghastly consequences for your loved ones. Lastly, we see our own widespread problems reflected back at us and how theatre really can be “a light in the darkness.”