Accidental Death of an Anarchist

Tom Basden’s adaptation of Accidental Death of an Anarchist brings Dario Fo and Franca Rame’s 1970 political farce into a contemporary setting, retaining its sharp satire of institutional incompetence while updating many of its references. Directed by Joy Hellyer and Paul Kay, KAT Theatre’s production embraces the play’s chaotic energy, finding plenty of laughs while leaving room to push its farcical style even further.

James Kiesel is at the heart of the production as the Maniac, effortlessly transforming between personas as he manipulates those around him. From greeting audience members before the show wearing a white wig and pearls and claiming to be KAT president Margaret Robertson, to later shifting character to become a judge and a forensic expert, Kiesel demonstrates impressive physical agility, confidently commanding the stage with energetic movement. His performance captures the trickster spirit of the role, although there are moments where greater delight in deceiving his victims and more direct engagement with the audience could heighten the sense of gleeful anarchy.

The cast work well together, particularly in the scenes where the increasingly bewildered police officers (Kevin Hastings, Sadie McLoughlin, Chris O’Grady, and Gino Moretto) compound the confusion through their own ineptitude. These sequences are well blocked, ensuring the action remains clear despite the escalating chaos. At times punchlines can arrive a little too quickly, and some visual gags and physical comedy could be given more space to land; however, the production does well to find humour without becoming a pantomime. The cast’s commitment to the absurdity and deadpan delivery of punchlines make for a hilarious production, with use of varied accents adding another layer of comedy.

Basden’s adaptation loses some of the political focus and narrative purpose of the original, with the Maniac’s actions feeling like mischief for its own sake rather than a determined attempt to expose corruption. Nevertheless, the play’s themes remain surprisingly relevant. Its satire of policing, bureaucracy, and institutional failure resonate beyond its British setting.

KAT Theatre delivers an entertaining production, ultimately leaving audiences pondering its central question: who is truly the maniac? The man exposing the absurdity of the system, or those who unquestioningly accept it?