Review: The Resistible Rise of Arturo Ui (Swan Theatre, The RSC)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

You don’t have to look too hard to find comparisons between current events and those of World War II, making a new production of The Resistible Rise of Arturo Ui all the more timely. Now debuting at the RSC in Stratford-upon-Avon, I ventured up there on the day they were celebrating Shakespeare’s birthday to celebrate another iconic writer (“It’s Shakespeare’s birthday and you’ve come to a Brecht play. Rebellious” as a cast member addressed the audience in the introduction) in a story that should prove as relevant and thought-provoking now as it did when it first debuted. But would this new take on the story have me rising from my seat, or would I be able to resist?

Written by Bertolt Brecht in 1941, it took until 1958 for The Resistible Rise of Arturo Ui to get its belated premiere. It tells the story of a small-time crook with big boss ambitions - the titular Arturo Ui. During the Great Depression, the Chicago mobster has vegetables on his mind, controlling the market for cauliflower by any means necessary, namely, disposing of his competition. As his influence gains momentum, so does his power, making him a dangerous man that may prove incredibly difficult, if not impossible, to stop.

Sound familiar? The Resistible Rise of Arturo Ui was written with one man very much in mind. A satirical parable that compares Arturo’s determination to dominate vegetables with that of Adolf Hitler and the rise of the Nazi Party in Germany prior to World War II. The comparisons to Hitler become increasingly obvious, extending far beyond the resemblance of the title character, culminating in a deeply unsettling climax.

This production has been translated by Stephen Sharkey, modernising some of the language with no shortage of profanity, but it works. The essence of Brecht’s story is still there, but 85 years later, the message is loud and clear. Lessons should have been learned from the past, but history has a way of repeating itself, as is so often the case - the very end of Brecht’s play and, in particular, this production, is a stark reminder of that - spoken at a time where we may need reminding of what can happen when forces like this are not stopped in time more than ever before.

This is a satire and, as such, there are many moments to laugh at throughout, with the absurdity of some of the characters and the choices that have been made in this production, especially. Though it feels good to laugh, it comes at a cost. Much like the current production of Cabaret at the Kit Kat Club in the West End, there is a reveal near the end which proves utterly devastating. I found myself with a lump in my throat and a tear rolling down my cheek - something that took me by surprise given the initial tone of the play. In retrospect, this wasn’t a drastic change and was implemented gradually throughout, luring the audience into a false sense of security with different members cottoning on to the change in tone at different times, some after it was too late. The comparison to real-world events couldn’t be more obvious, but the way this has been realised in this production is nothing short of genius.

I will come on to the cast of this production in a moment, but I can’t mention them before mentioning the biggest star of The Resistible Rise Of Arturo Ui - the director. What Seán Linnen has created here is nothing short of astonishing. I was spellbound by Linnen’s choices from the opening moments when cast member Mawaan Rizwan nonchalantly walked on to the stage dressed as a staff member at the RSC to introduce proceedings with a touch of stand-up comedy before transitioning into his character in the play. Wildly creative, bold and brilliant, I can’t remember the last time I was in love with a play as quickly as this. This play was already five stars in my head minutes into it, and never came close to dipping anywhere below that in the hours that followed.

Rizwan called the audience rebellious in his introduction, and that word perfectly sums up this production. Rebellious and edgy, every choice is incredibly daring, risking to be immensely divisive in its execution - but to me, it showcased a man with a keen eye for detail, unrivalled knack for precision, and a gut instinct for how best to convey this story for ultimate connection. To that end, Linnen’s direction proved an unmitigated success. Certainly unconventional in its approach, at one point the lights came on so suddenly, I wondered if there had been a show stop before realising this was all part of the plan.

Cast members mingle around the audience, holding signs (with one of them passing one to me to hold for what seemed like an eternity at the end of Act One), utilising all of the space and appearing at every level inside The Swan at the RSC. One of the greatest aspects of this was the end of the interval, where Mark Gatiss could be seen circling the audience, eating a McDonald's before the Second Act began with a bang. The level of detail should also be attested to from my seat next to the stage, where I could hear every cast member whispering lines in their character that added to the story - designed only for a select few to hear, but a fine example of the intricate attention to detail on display here. Quite frankly, Linney’s direction here is unlike anything I have ever seen before - I found it wholly refreshing and a stroke of absolute genius.

Similarly creative is Georgia Lowe’s design, with the initial set looking more like an RSC season launch event - green seats and the RSC logo blaring out left me wondering what was behind the curtain - utter brilliance was the answer. Cleverly transitioning the space, this production was always visually thrilling, occasionally chaotic, but thrillingly so and the finest example of organised chaos. Robbie Butler’s lighting and Jennifer Jackson’s movement direction kept The Resistible Rise of Arturo Ui continually exhilarating and unpredictable. Another genius inclusion is the music from Placebo, perhaps seeming at odds on paper, but working meticulously well to represent the edginess of the material and soundtrack an outstandingly good production.

Mark Gatiss may well be one of the finest actors in the UK, and his leading role as Arturo Ui is an example of him at his very best. The ambition and power in the character are clear to see, but the way Gatiss moves from one extreme to another in quick succession on his rise to the top is a performance few could manage. Exceptionally delivered, he makes the rise all the more uncomfortable as he embodies dictator qualities more and more, proving utterly terrifying in pivotal scenes in Act Two. Though the character may prove terrifying, Gatiss himself is terrifyingly good in a performance I daren't take my eyes off. Through his mannerisms, affectations and reactions, every choice made has been given the utmost thought to create a well-rounded and astounding characterisation. The choice to disregard the character and close the show as himself with the powerful and thought-provoking epilogue was the cherry on top of a perfect performance. Combining comedy and horror in his portrayal, ultimately, Gatiss’ Arturo Ui is a thriller.

The aforementioned Mawaan Rizwan proved another standout among the cast, winning over the entire audience from his initial introduction, showcasing his quick-witted nature as he looked around and interacted with the audience based on what he could see. He was just as good when he transformed into Giri, in an uncomfortable and often unhinged portrayal that was breathtakingly brilliant to witness, demonstrating a great physicality in his performance. Janie Dee is a highlight in a number of small but mighty roles in the play, at her best as both Defence and Betty Dullfeet. Kadiff Kirwan delivered a dominating presence as the forceful Roma, with Mahesh Parmar performing an unlikely but immensely memorable turn as Dogsborough’s son. Gatiss may be the main character and have his name in the title, but this play was very much an ensemble affair, with every single cast member absolutely astonishing to create a tight and terrific performance.

I may be lucky enough to see a lot of theatre, but nothing thrills me more than witnessing something new and different, as I did with The Resistible Rise of Arturo Ui. Though it was most unsettling at times, I’d be lying if I said I didn’t enjoy every moment of this play. From the lead performance of the incredible Mark Gatiss to all the cast members sharing the stage with him, the combination of both Brecht’s original story and Sharkey’s translation, each element of this production is utterly faultless. However, it is Seán Linnen’s direction that deserves the biggest praise - his vision and execution here are second to none, leading to one of the plays of the year. I can think of four plays I have seen so far in 2026 that are serious contenders for that number one title, and this is certainly one of them. As perfect as theatre can get, the quest for world domination with this production certainly isn’t done yet, so don’t be surprised when it takes over a venue in the West End in the not-too-distant future.

The Resistible Rise of Arturo Ui plays at The Swan in Stratford-upon-Avon until 30th May. Tickets from https://www.rsc.org.uk/the-resistible-rise-of-arturo-ui/ 

Photos by Marc Brenner