Good – Harold Pinter Theatre, London

A revival of C. P. Taylor’s 1981 play Good sees David Tennant take on the lead role as a professor who rationalises his participation in the Nazi regime.

Good

Good is probably the best-known work by C. P. Taylor, who unfortunately died aged 52 before its initial West End run. He was nonetheless a prolific playwright, with about 80 plays written over 20 years. It would have been interesting to see how his style evolved after the RSC-commissioned Good in 1981.

Good takes place over eight or so years from 1933. The principle character is John Halder, a professor with an anxious wife and a job at the university. We watch as, in a series of scenes following different timelines, he leaves his wife for a student, abandons his Jewish best fried Maurice and, step by step, rationalises first passive then active participation in the Nazi party. Does the ‘good’ of the title refer to how an ostensibly good person can end up condoning or participating in the worst crimes? Or is it about the servicing of personal benefit over the greater good?

I’m inclined to think it’s the latter. There is a scene where Helder, possibly already in SS uniform by this point, references a Talmudic quote. “If I am not for myself, then who is for me?” He uses this to justify the Nazi Party’s anti-Semitism, in comparison with the Party’s own maxim which is something about putting the needs of the many above the few. How far he has come from dismissing said anti-Semitism as “anti-Jewish rubbish” that would soon blow over. And yet it is Halder who, at each fork in the road, has chosen the path that benefited his own progression and happiness.

A Much-Delayed Production

For me, seeing Good was another nice post-Pandemic moment (not that we are post-Pandemic yet, perhaps I mean post-lockdown). I was due to see it first in late 2020. All I knew was that David Tennant was in it: that was enough for me to purchase tickets. By the time it was rescheduled twice and I was re-purchasing tickets, I knew it was something to do with David Tennant being a Nazi, but not much more than that. Tennant is clearly a big audience draw for more than just myself, as it has been playing to packed audiences and has extended its run by a week.

Perhaps in the end it couldn’t quite live up to this long period of anticipation? That may at least be the case for me. David Tennant was of course excellent, as he always is. His likeability and ability to connect with the audience are perfect for this role all about the mundanity of evil. I liked the set, and thought the other actors were very good. Elliot Levey plays Maurice, and on the night I saw it understudy Edie Newman was in the role of Helder’s wife Helen. Both play assorted other parts. The set (by Vicki Mortimer) is confined and claustrophobic, hemming us in. There are hardly any props, with scenes set using sounds (Tom Gibbons) in a further minimalist touch.

I think in the end the thing that didn’t do it for me with this play was that it’s very much of its time. There was a reckoning with the past in Germany which was around the same time: aging parents and grandparents confronted about their role or their silence. With another forty years behind us, this revival didn’t feel as if it was adding anything new. Other than, of course, the parallels to current movements and leaders still tempting people down slippery and immoral slopes.

Final Thoughts On Good

I’m not saying don’t see it. I’m glad I did, previous thoughts notwithstanding. And it’s up for a number of awards so my cynicism isn’t shared by all. There’s no reason that good performances, interesting design and an important play shouldn’t be the ingredients for a good night out. One small tip: I had forgotten how old-fashioned the Harold Pinter Theatre is, so where you sit matters a great deal in how good your view will be. Perhaps check out something like Seat Plan to look before you buy.

I will probably continue to buy tickets to things just because David Tennant is in them. And I would be interested to see another play by C. P. Taylor to get a better sense of his style. Good gave me food for thought, and was chilling in how easy it was for this character to descend into the worst of humanity. It’s probably not a play I would seek out again, however.

Salterton Arts Review’s rating: 3/5

Good on until 7 January 2023