Review: Albert Speer

The Battle with the Truth

Helsinki City Theatre’s play about Speer

A great play. It doesn’t let its viewer go lightly, but asks who has
the right to withdraw?

Hitler’s favorite, Albert Speer (1905-81), was one of the leaders of National Socialism
architects. He planned a grandiose Berlin for the gallant Germania
and was a scenographer of Hitler’s Reich. He also became a politician. Speer
was Minister of Armaments in 1942-45. He replied to Hitler’s
war machine.

At the Nuremberg Trials in 1946, Speer admitted responsibility for forced labor
but denied knowing anything about the Holocaust. Many
those close to him, including Göring, committed suicide like Hitler
before his sentence. Speer was released from prison in 1966.

This is for background. It is good to remember the background a little before watching the play.
If you are not interested in the subject matter, the play may not give you that much – unless you want to
to reflect on human responsibility in general.

David Edgar’s play about Albert Speer asks if he knew
About the persecution of Jews? It sheds light on people’s ways of coping with guilt and
reflects on the responsibility of each person.

The play, directed by Kari Heiskanen and translated into Finnish, is well structured.
The first half builds Speer’s innocence. Another questions
and forces the viewer to ask for their own opinion. How many times
Man knows that injustice is happening, but closes his eyes to it.

Hannu Lindholm’s effective sets emphasize the pompous nature of Nazism,
power of power.

Heiskanen and Sarkola’s play

Heiskanen does an effective job as Hitler. He is not just a caricature,
the embodiment of all evil.

This is a play by Asko Sarkola, who plays the roles of Heiskanen and Speer.
It’s a tough role for Sarkola, he’s on stage all the time. Credible
both.

The roles of Heiskanen and Eva Braun and Speer’s daughter Hilde
Milka Ahlroth’s use of voice is in a class of its own. Pertti Sveholm is
sympathetic as a pardoning priest who emphasizes reconciliation.

Nazism was theatrical, but this performance was not. It focuses on the essentials.
Effective spoken theatre to underline what is at stake. Responsibility
or closing your eyes?

In the City Theatre’s Speer, resentment is conspicuous by its absence,
scapegoats.