Joseph K

This production of Joseph K by Tom Basden reimagines The Trial in 21st century Britain. The totalitarian state of Kafka’s original is replaced by our own globalised, technologically advanced society, and many of the maddening conflicts with bureaucracy that Joseph K goes through would be eerily familiar to everyone who has interacted with any modern “customer service” team. It evoked many common gripes about modern life, including the millennial generation’s lack of career prospects, how social media trivialises our lives, and how elites manufacture consent from the masses for their self-interested agendas.  

Facing off against this incomprehensible complexity, with predictable results, was Kieran Lowe’s Joseph K. Lowe’s performance as this everyman figure was highly sympathetic, and he did a fine job of incorporating variation and build into his repeated portrayals of frustration. He was backed up by a stellar ensemble cast, including Victoria Hodgson whose performing with the group for the first time, all of whom brought something unique to the production and displayed good characterisation. Tonio Ellis and Roger Saddington showed great chemistry as the duo sent to inform Joseph of his arrest. Cat Taylor also stood out as one of Joseph’s colleagues and as Ian Huld’s, played wonderfully by Matthew Jones, timid but sexually voracious personal assistant, stuck in the nightmare of a 7-year unpaid internship. Ellis does re-appear for another hilarious turn alongside the equally brilliant Jean Speller as the two dim-witted and vapid bureaucrats to whom Joseph K must report. 

Scene changes are traditionally a reviewer’s bugbear for tediously breaking up a play’s pace, but most were well executed. The set was simple but effective. Lighting and design were well designed and executed.  

Joseph K might not be for everyone, but it stands out as an innovative and experimental show, exploring themes that are achingly relevant to our society.

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