Dr Freud Will See You Now, Mrs Hitler | Upstairs at the Gatehouse

Dr Freud Will See You Now, Mrs Hitler, which is written by the award winning duo Laurence Marks and Maurice Gran, and is directed by Isaac Bernier-Doyle, is a fascinating new play. The play, as suggested by the name, imagines a world wherein Dr Sigmund Freud and Adolf Hitler had met and become acquaintances, playing into the notion that the world would have been changed. 

The play is surprisingly based on a real life detail, wherein Mrs Hitler had sought out a doctor for young Hitler's tendency to wet the bed and was recommended Dr Freud. However, Mr. Hitler had intervened, thus ending any chance meeting between the two. Writers Marks and Gran, however, inspired by this fact, have taken it upon themselves to create a fascinating "What if" moment. 

The play chronicles four phases in Hitler's life, from infancy to the prime of his ruthless adulthood, through different meetings with Dr Freud. The latter, who met Hitler as a trembling and scared child who was regularly physically abused by his father, watches with morbid curiosity as Hitler's initially vague prejudices grow into a full blown hatred, and the development of Hitler's ego. Each meeting occurs nearly a decade apart, bringing about a growing tension that engulfs the audience as the truth grows nearer. 

Interestingly, the play chooses to also include a particular subject to narrative and frame the piece as a whole; Dr Freud's youngest daughter Anna Freud. Anna introduces and closes the show, placing the events in her 'fantasy'; a topic that is discussed in great detail throughout the play. 

Whilst the concept is uniquely creative; the play doesn't quite achieve what it sets out to do. Advertised, or perhaps unintentionally deceiving, the play shines of potential for a brush with darkness that is narrowly subverted through the growing relationship between Hitler and Freud, or even Hitler and Anna. Instead, the play takes a more scenic route to arrive at the same destination that audiences already know too well, missing out on a golden opportunity to create a thoughtful or hilarious piece of theatre, especially from two titans of TV comedic writing. 

Marks and Gran's writing focuses on deconstructing Hitler's actions; using Dr Freud's findings to link the abuse the former suffered as a child at his father's hands to the monster he came. In doing so, Hitler is given a rather layered vulnerability, rendering him a human capable of redemption, especially with Dr Freud at his side. The play often takes a deep dive into psychoanalysis, with a particular focus on the Oedipus complex; that audiences can watch in real time as Freud and Hitler's own relationship begins to echo that of a father and son in their own right. The writing is intellectual, sharp and witty, creating dialogues that have a cutting edge to them and keeps the audience hooked. 

The play almost pays homage to both these renowned historical figures, with dialogues that feel befitting of both personalities, tying in existing material (such as Freud's books and Hitler's campaign speeches), whilst also creating a more contemporary conversation between the characters. The play doesn't shy away from the horrors of all that occurred under the Nazi regime, with the harsh brutality of the external world slowly crowding in until it takes onto the Freud family.

This is also credited in large part to the performances, notably Jonathan Tafler and Sam Mac as Freud and Hitler respectively. Tafler is tasked with a dialogue heavy role, whilst also finding a nice balance of warmth and humour and a quiet determination and vulnerability as the shoe progresses. Tafler tackles the role head on and creates a rather likeable Dr Freud. Mac is incredible as Hitler, commiting to the role and delivering a wildly impressive performance. Mac is so chilling as Hitler in the final moments of the play, several members of the front row were leaning away from him, and the scene is performed to revered silence.  

The cast are completed by Ruby Ablett as Anna Freud, who brings out the innocence and loyalty of the young girl well. Nesba Crenshaw as Klara Hitler (Mrs. Hitler) provides a strong performance in her limited stage time. Brendan Lyle is well cast as Otto Rank, one of Hitler's men, bringing a rather distinctive personality to the role. Neil Chinneck as Colonel Rothmeyer and Alois Hitler (Mr. Hitler), is a terrifying addition to the cast with his rigid and cold nature. 

Hannah Danson creates a stunning set for the show, with large drapes of Freud's letters used as a wallpaper. The use of classic wooden furniture makes the staging feel, and more intimate. Simon Jackson's lighting helps create some important visual moments, with the warmth in the lightbulbs slowly being replaced to a harsher light. Through the use of the drapes and the light, there are several significant moments that use shadows to further showcase the horrors. 

Dr Freud Will See You Now, Mrs Hitler is a play unlike any other, asking and answering the endless questions surrounding history's most controversial and discussed figure. With a script that keeps audiences gripped and reeling from revelation after revelation, and performances that are exceptionally strong, the play feels extraordinarily important... especially now. 

Dr Freud Will See You Now, Mrs Hitler is currently playing at Upstairs at the Gatehouse until the 28th September 2025.

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★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Chromolume