David Tennant in Good. Photo: Johan Persson

CP Taylor’s searing play (first produced in 1981) about a supposedly “good” man becoming a Nazi is given a radical new staging by Dominic Cooke. The cast has been pared down to three actors – Elliot Levey and Sharon Small play multiple parts – and the action is enclosed in Vicki Mortimer’s claustrophobic grey cell.

Halder (David Tennant in a towering performance) is an academic and the author of a book about euthanasia that brings him to the attention of the Nazi Party. He regularly meets Maurice, a Jewish psychoanalyst, to discuss the state of Germany and themselves.

While Maurice is in a constant state of anxiety about the rise of Hitler and his rampant antisemitism, Halder hears music in his head. “The bands came to me in 1933.” he declares. They might be dance bands, symphony orchestras, café trios, jazz… depending on his mood. Halder tries to convince his friend that the “anti-Jew rubbish” is just there to distract the masses and will swiftly blow over. Nevertheless, he joins the party, believing it will keep his family safe.

After leaving his wife Helen for his student, Anne (both played by Small), Halder starts advising the Nazis on how to euthanise the old and disabled. As the situation worsens, Maurice begs Halder to find him five tickets out of Germany.

Instead, Halder chooses the books to be burnt at his university and participates in Kristallnacht. He moves into Maurice’s beautiful country home with Anne. His friend continues to implore him for help until he is silenced.

Throughout, Halder justifies his actions to himself. At one point there is talk of prioritising the common good rather than the individual. Halder puts himself before all else. His slide into evil is gradual but, as he sees it, essential to retain an easy life.

Good is remarkably resonant, particularly the underlying sense of panic felt by Maurice and deflected by Halder. A chilling and perceptive production.

Until December 24
goodtheplay.com