It’s unlikely that you would have heard of Hans Litten. Up until a few years ago, his story was barely a whisper. In 1931, Hans gave a man a hostile cross-examination in a Berlin courtroom. That man was Hitler. Four Nazi storm troopers were accused of attacking a popular communist dancehall, resulting in the deaths of three people. Hitler was called to testify, and he floundered, defensive and red-faced on the witness stand as Hans inflicted a three-hour interrogation.
Two years later, Hitler was sworn in as chancellor, and he never forgot Han’s embarrassing trial. So much so that he wouldn’t allow his name to be uttered in his presence. Along with other opponents to the Nazi regime, Hans was taken to a concentration camp, or as the Nazi’s so delicately put it, ‘protective custody’.
The writer, Mark Hayhurst, first discovered the story of Hans Litten in 2010, and was commissioned by the BBC to write the drama, The Man Who Crossed Hitler, and a documentary, To Stop a Tyrant. Taken at Midnight is a beautifully crafted play, telling us the story from a more unusual angle.
It begins in 1933, where Hans is ‘Taken at midnight’, by the Nazis. He is cast into an unnervingly Escher-like cell in Spandau Prison with a couple of other political prisoners. However, we quickly discover that it is not as much Hans’ story we follow as that of his mother, Irmguard Litten, played by Penelope Wilton. With an unrelenting drive, she dedicates herself to finding Hans and negotiating his release. For the first half of the play, Hans remains on stage in his bleak cell, like a constant, agonising reminder.
In fact, the character of Irmguard is where the genius lies in this compelling production. Historical records of Hans indicate that while he was an admired man, he was not a particularly personable one. By concentrating the starring role on Irmguard, Hayhurst exposes us to a wealth of empathy that couldn’t be raised by a nerdy, outspoken lawyer. You feel Irmguard’s underlying desperation, the ridiculousness of the volume of the ‘Heil Hitler’ she obligatorily yells with every Nazi encounter. Wilton masters the character of this strong, determined woman. With lonely, dramatic pauses, and eyes brimming with tears just enough to expose underlying emotions of sadness and desperation.
Martin Hutson’s portrayal of Hans as a self-assured, slightly nerdy lawyer, is also a performance you won’t forget. As Hans moves from concentration camp to concentration camp, we see him slowly deteriorate. But while his bones may be broken, his inner strength and reluctance to break his values show his undeniable heroism.
The production is strong throughout. Pip Donaghy brings a dark humour to the play with his anarchistic character Erich Muhsam. John Light plays a regimented Dr. Conrad, an interesting character, who doesn’t reveal his true nature until near the end of the play.
So why isn’t this story of Hans Litten more widely known? Surely this man who stood up to Hitler would be more recognised. It could be because the story lies in the dark shadow of the holocaust, the concentration camps of world war two. It could be because of his left-wing views. But whatever the reason, it doesn’t make this story any less relevant or important. Taken at midnight gives us a rare glimpse into the brutal origins of the Nazi regime. It brings us a heartbreaking display of a mother’s unrelenting love for her son, and reminds us of the noble efforts of those who tried to resist it.
Taken at Midnight has a limited run at the Theatre Royal Haymarket until 14th March 2015. For more information and to book tickets, visit www.trh.co.uk.
