Accidental Death Of An Anarchist

Accidental Death of an Anarchist is a sharp, fast‑paced political farce by Dario Fo, centred around the suspicious death of a man in police custody and the chaotic attempts of the authorities to cover it up. The play blends slapstick, satire, and biting commentary on corruption, and it demands a cast who can juggle physical comedy with razor‑sharp timing. This production embraced the challenge with enthusiasm, delivering an evening full of energy, wit, and some truly smashing performances.

As we took to our seats, we were greeted with an open stage element of the set already in place, including particular signage that immediately hinted at the location and tone of the piece. The sparse but deliberate design provoked thought before the play even began. The audience was invited to consider the institutional setting and the absurdity that often lies beneath official structures. It was a clever choice: simple, but effective in grounding us in the world of the play.

The role of The Maniac, played by Connell Costello, was the beating heart of the production. Connell delivered the character with a wonderfully anarchic energy, balancing mischief, intelligence, and unpredictability. His physicality was bold without ever feeling forced, and he had a knack for shifting from deadpan seriousness to explosive humour in an instant. The Maniac is a role that thrives on chaos, and Connell embraced that chaos with confidence. His comedic timing was sharp, and he commanded the stage with a presence that kept the audience constantly engaged. It was a standout performance one that captured the spirit of Fo’s satire beautifully.

Superintendent Curry, played by Graham Winter, was portrayed convincingly as a man desperately trying to maintain authority while everything around him spiralled out of control. Graham brought a grounded, believable quality to the role, which made his character’s panic and confusion all the more amusing. His reactions to the Maniac’s antics were particularly enjoyable; the contrast between his stern exterior and the absurd situations he found himself in created some of the evening’s funniest moments. Detective Dan Daisy, played by Greg Nixon, brought a wonderfully flustered energy to the stage. Greg’s portrayal captured the character’s eagerness to please and his underlying incompetence with great humour. His facial expressions, especially during moments of interrogation or when trying to keep up with the Maniac’s rapid‑fire improvisations, added layers of comedy. Greg’s performance complemented the rest of the cast well, contributing to the ensemble’s overall rhythm. Inspector Burton, played by Andy Cantillon, was another strong presence. Andy delivered Burton with a sternness that bordered on the ridiculous, which is exactly what the role demands. His commitment to the character’s seriousness, even in the most ludicrous situations, heightened the farcical tone of the play. He provided a solid anchor for the more chaotic characters to bounce off, and his timing particularly in scenes of rising tension was excellent.

PC Joseph, played by Davi Cooper, brought a youthful earnestness to the production. Davi’s portrayal captured the character’s naivety and eagerness, and he handled the comedic beats with charm. His interactions with the senior officers added a nice dynamic, highlighting the hierarchy within the police station while still contributing to the humour. Fi Phelan and PC Jackson, played by Harriet Jones, added further texture to the ensemble. Harriet brought a sharpness and clarity to her role, delivering lines with confidence and contributing to the overall pace of the production. Her presence helped round out the world of the play, and she worked well within the ensemble’s comedic rhythm.

One of the strongest aspects of the production was its pace. Farce relies heavily on timing both in dialogue and physical movement and this cast handled that challenge admirably. The key moments of pause were used effectively, allowing jokes to land and giving the audience space to absorb the absurdity of the situation. These pauses never felt like hesitation; instead, they were deliberate, well‑placed beats that enhanced the comedy.

I particularly loved the farcical movement to the 4th floor, which was very creative and had the audience laughing throughout. The physical comedy in this sequence was executed with precision, and the cast’s commitment to the escalating absurdity made it one of the highlights of the evening. It showcased the company’s ability to handle complex staging while maintaining character and comedic timing.

The window scene towards the end of the play was another memorable moment. It was staged cleverly, balancing tension and humour in a way that kept the audience fully engaged. The actors handled the physical demands of the scene with confidence, and the comedic payoff was well earned. It was a fitting climax to the play’s chaotic energy.

Throughout the production, the cast demonstrated a strong understanding of the play’s satirical edge. They leaned into the absurdity without losing sight of the underlying commentary, which is essential for Accidental Death of an Anarchist to land effectively. The humour was broad, but never careless; the performances were exaggerated, but always rooted in character.

Overall, this was an enjoyable and lively production with some truly smashing acting. The cast embraced the farcical nature of the play, delivering performances full of energy, commitment, and humour. While the play itself is chaotic by design, the company’s control over timing, movement, and characterisation ensured that the chaos was always entertaining rather than overwhelming. It was a testament to the performers’ skill and the creative team’s vision, resulting in a thoroughly engaging evening of theatre.

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