Kafka's Dick

Kafka’s Dick is one of Alan Bennett’s less performed pieces, and yet it has some great one-liners and an interesting message about fame. It is especially relevant in these days of ‘celebrity’. Set in the 1980s in a Yorkshire suburban dwelling, Kafka aficionado Sydney and his wife Linda are visited by Franz Kafka and his friend Max Brod who are both long dead. Together they examine the nature of notoriety and how the small details of a person’s life can eclipse their real talent. A bizarre, indeed Kafkaesque premise for a play.

Pateley’s version began with some interesting staging in front of the curtain. Kafka (Rae Joynson) lies on the floor while addressed by Max Brod from the audience. As we move to Yorkshire, the curtains open to reveal a stunning set filled with hundreds of red and yellow books. This was designed by the director, Tom Barber and constructed by a huge team of volunteers. It proved an excellent backdrop for the whole piece. The red and yellow theme was extended through the whole production with fantastic attention to detail. Indeed costuming, set and props were impressive throughout.

The original production featured a stellar cast including Roger Lloyd-Pack, Andrew Sachs, Alison Steadman, Geoffrey Palmer and Jim Broadbent, so the team had a lot to live up to; but they did a great job. There were some excellent portrayals of these bizarre characters and I particularly enjoyed Steve Rouse, who had great attack and whose accent as Max Brod was consistent and convincing throughout. Peter Buller, as Father, developed his character in a few short entries and had some of the funniest lines, delivered brilliantly. Hugh Cawley didn’t enter until Act Two but he made a big impact, both with his commanding height and his domineering personality. He was a great contrast to the diminutive Kafka (Rae Joynson) who gave a very convincing performance, especially in the dock in Act Two. But did he really want his work to be burned and forgotten? I doubt it.

Act One had some awkward moments, because sexist humour sits uncomfortably in 2025, but I was delighted to see Linda (Olivia Skipsey-Collinson) take more of an upper hand in Act Two and show us the dawning of girl power. I’m glad to see that even in 1986, Alan Bennett knew that women were at least equal to men in their intellectual prowess. Keith Burton, as Sydney played the geeky, boring husband with confidence. Imagine being married to someone whose main obsession is Kafka! And I couldn’t leave out the seventh member of the cast, the fast-moving tortoise, named, of course, Frank Kafka.

Hats off to Pateley Bridge Dramatic Society for choosing such a tricky play. You were rewarded with full audiences as usual. Congratulations to Director Tom Barber for some excellent staging and creative ideas. The play ends in heaven. The God costume was a highlight and this is a funny scene, but I no longer want to go to heaven if the background music is Agadoo!’ If this is heaven it’s going to be hell.’

© NODA CIO. All rights reserved.