Canned Goods, which is written by Erik Kahn and directed by Charlotte Cohn, recounts the events of "Operation Canned Goods", also known as "The Gleiwitz Incident" or "Grossmutter Gestorben (Grandmother Died)", a falsely staged event by Nazi Germany to justify their invasion into Poland, which effectively set into motion the events of World War Two. Kahn takes on a rather significant historical moment and creates a larger framework for the event, choosing to focus more on the three unsuspecting and unfortunate "chosen ones", who unknowingly play a large part.
Canned Goods chooses to drop the audience right into the action, and leaves them scrambling to connect the dots alongside the characters. Honiok (Tom Wells), a 43-year old German farmer, along with Kruger (Rowan Polonski) and Birnbaum (Charlie Archer) are kept imprisoned with no explanation as to their arrest, and spend a large extent of the 90 minute play questioning this. However, the trio are treated like 'guests' by the prison guard (Joe Mallalieu) upon strict orders from SS Major Naujocks (Dan Parr). The play devotes the first hour of the play to conversation between the characters, as the audience get to know and understand the characters and their intentions better.

The three prisoners are each given monologues, which helps humanise the characters more. With an in-depth insight into their past, and their personal experiences in Nazi Germany, these monologues become the glowing beacons in an otherwise monotonous hour. With each monologue so distinctive and powerful, particularly Birnbaum, whose anger at the treatment of his fellow Jews rings true and pulses at the core of the piece, the play finds threads of sincerity that the conversation otherwise mostly lacks. There are moments of warmth, tension and humour in the conversation, yet the repetitive nature and lack of action makes it hard to follow.Â
However, this is not a criticism against the actors, whose performances elevate the piece and keep it engaging. Polonski as Kruger, an eager-to-please, loyal and almost brainwashed German, makes for a wonderful character study as he grapples with his own experiences and the propaganda that surrounds him. Archer brings a bittersweet fire to his performance, calling for action and anger despite the dead end ahead of him. Wells brings an earnest sense of gentleness and strength to the play, taking the foreground as a unwaveringly courageous character. Parr is everything one would expect in such a vicious role. With sinister eyes, a cold smile and an icey tone, Parr strikes fear in the audience even when he's friendly, and the whiplash ability to switch between extreme emotion is impressive.Â

The play picks up the pace in the last third of the play, as the actual events of the "Operation Canned Goods" take place. Cohn approaches this final and crucial section with a renewed flourish, quite literally allowing SS Major Naujocks to orchestrate this falsified attack, with a spotlight on him as he conducts the other actors and stage hands accompanied by a grand symphony. The full impact of the play is felt in these moments, rendering it a powerful slow burn piece on the whole.
The contrast between the performative and almost dramatic persona of Major Naujocks contrasted with the sadly voiceless trio of prisoners makes for a widening chasm that is filled with haunting dread that echoes long after leaving the theatre. Ruthless and merciless, the play quickly turns from a mundane conversation into a fascinatingly gruesome recounting of events. This morbid fascination and keen thirst for the violent action is further reiterated by Major Naujocks breaking the fourth wall and addressing the audience, who watch with a collective held breath. The chilling truth in his monologue is thought-provoking and helps create a justification for the slow-paced start.Â

The play mostly unfolds on a small podium, made up on many individual wooden blocks that become the prison cells, along with railings. Staged as theatre in the round, this helps audiences really focus on individual characters, and emphasises the notion that they're constantly being surrounded, watched and judged. The set, along with costumes, were designed by Mona Camille. The costumes are detailed and play a significant role in distinguishing the character's occupations and ranks. Lighting designer Ryan Joseph Stafford and sound designer Anna Short deserve endless praise for their efforts on the piece. Stafford's design allows for every inch of the stage to function on it's own, both trapping and freeing the prisoners with light, not to mention the gunshots and camera flashes.Â
Canned Goods tackles a significant event and handles it with care and theatrical supremacy, yet simultaneously dissolves the weightage of this event with the prolonged initial conversation. However the play soon recuperates and ultimately leaves the audience grief-stricken, horrified unsettled, and emotionally moved.Â
Canned Goods is currently playing at Southwark Playhouse Borough until 8th February.Â
★★★☆☆ (3*)
Gifted tickets in return for an honest review | Photography by Mark Senior
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