The Second World War was the last century's most significant historical event. Therefore it’s no wonder the British public has a fascination with understanding the depths of how such horror could have developed from seemingly one man. With a cast including three of Britain’s leading actors, C.P. Taylor’s Good seeks to examine how individuals could be seduced into committing terrible acts as part of the Nazi Party, despite appearing or feeling to appear to be decent and moral citizens.

From the cage of a concrete box stage, David Tennant portrays John Halder. He is a good man, “whatever that means”, a university professor with a dedicated wife and children and a Jewish best friend, psychiatrist Maurice (Elliot Levey). The play takes place over eight years in Frankfurt, following Halder’s life during the Third Reich as he falls deeper into the grasp of the Nazi regime. 

Dominic Cooke’s production sees the important people in Halder’s story portrayed by just two other actors (Levey and Sharon Small). Without the aid of scene changes, Levey and Small must snap between characters from minute to minute, which is impressive to watch. Levey benefits from the audience’s sympathy as Halder’s only friend, in his performance we sense his anxiety as a Jewish man despite not knowing the full extent of events to come. There is a clear distinction and ease between each of Levey’s characters which makes one wish he could be used even more throughout the play. As Halder’s wife, mother, student, and SS officers, Small’s transition between characters feels less well-defined between her female roles. Cooke’s direction of the three actors is slick and they bounce exceptionally well off each other, it is a pleasure to watch such superb professionals at work.

Audiences know and love David Tennant so he is a clever casting choice for this role. We want to like Halder from the outset, making it all the more painful as we see what a flawed man this is. Moments of comedy provide light relief, Halder is dry and sarcastic, though this could later be understood as sociopathic alongside the unlikeable ways he treats those around him. This seems to be a chilling hint towards the lack of empathy that will lead him to the position he reaches. Cooke maintains darkness and fear for what is to come as a continual weight that builds to a terrifying crescendo. 

This is a dark representation of the not-distant past, showcasing the hateful heights that many people did reach within the Nazi Party. Good presents these horrific acts in an all too believable way, keeping audiences engrossed in a narrative that becomes more twisted and frightening the deeper its leading character falls. For an insight into how a person might accept and partake in unthinkable evil, Good is a disturbing and gripping piece of theatre. 

**** Four stars

Reviewed by: Cat Hancock

Good plays at the Harold Pinter Theatre until 24 December, with tickets available here.