Review: ALL OUR CHILDREN, Jermyn Street Theatre

Set in Nazi Germany in 1941, Stephen Unwin's debut play is an affecting examination of humanity, hypocrisy and morality.

With the sponsored murder of disabled children the order of the day, Dr Victor Franz (Colin Tierney), who runs a fictional paediatric clinic near Cologne, faces the consequences of his actions. Eric Schmidt (Edward Franklin), the SS officer who presides over his death sentences, Martha (Rebecca Johnson), the doctor's maid, Elizabetta Pabst, mother to one of the euthanised children, and Bishop von Galen (David Yelland) bring Victor's ethics and principles to the surface, pushing him to make a possibly fatal decision.

Unwin masterfully brings to light an often forgotten part of history, with vivid characterisation and gracefully authentic dialogue. He explores this dark story of "lives unworthy of life" with profundity, while simultaneously managing to keep it relatable and real.

Equally impressive are the performances of the whole cast. Tierney is statuesque in his portrayal, particularly when Victor is confronted with his hypocrisy. His hatred for Nazism is necessarily hidden but shines through in Unwin's script and gives Tierney glorious material to work with.

In direct opposition to what Tierney's Victor stands for, David Yelland is imperious in his portrayal of Bishop von Galen. By challenging his faith the playwright creates a stand-off between the two characters. Tierney and Yelland capture the multiplicity of their strife, and their head-to-head charges the room with palpable electricity.

Lucy Speed is excellent in the role of Mrs Pabst, a lower-class woman who insists on profusely thanking the doctor for taking care of her son in his clinic, only to receive a letter saying he is dead soon after. Her blind rage and heartbreak take shape in a striking confrontation with the man who sentenced her child, and who stands helpless in the face of her accusations, unable to defend himself or his choices.

Religion and faith play a large role in the show. Victor exists in relation to his beliefs in science and rationality, but he is surrounded by characters strongly set on the path of spirituality. His utter reliance on the scientific method clashes with Martha and the Bishop's views, and Eric Schmidt's fanatical fidelity to Nazi ideology, but ultimately display his profound humanity and willingness to do the right thing. However, there's interesting ambiguity in the doctor's sacrifice, given that he's suffering from late-stage lung cancer.

Simon Higlett's choice of dark, warm wood gives the doctor's office a refined touch, but it's only with Tim Mascall's lighting that it reaches its full potential. The change of ambience that results from the switch from regular spotlights to dimmed lights and candles in the second part of the play enriches the visual aspects of the performance.

Unwin's only questionable directorial choice is the addition of useless and rather kitsch musical cues like slamming doors and car engines, but fortunately they are sparse and don't disrupt the flow too much. A deeply thought-provoking piece of theatre.

All Our Children runs at Jermyn Street Theatre until 3 June.

Photo credit: Camilla Greenwell