Howard Brenton’s Churchill in Moscow comes to the stage of the Orange Tree Theatre with such fanfare that the run has already sold out (though a rush scheme is in operation).
With all the gravitas and wit you might expect from a dramatisation of Winston Churchill’s 1942 meeting with Joseph Stalin, this world premiere, directed by Tom Littler, is a historical thriller that imagines the interplay between two of the 20th century’s most formidable leaders.
Set against the backdrop of wartime Moscow, the play captures the tension and absurdity of a world teetering on the edge of chaos.
Churchill in Moscow unfolds as a high-stakes game of diplomatic chess, set during a critical juncture of World War II. Britain’s Prime Minister, Winston Churchill, embarks on a perilous journey to Moscow to meet with the enigmatic Soviet leader, Joseph Stalin. The purpose: to forge a crucial alliance against the burgeoning Nazi threat.
However, the path to partnership is fraught with suspicion, ideological differences, and personal animosities. It’s not just a case of cigar smoker versus pipe smoker, it’s English aristocrat at loggerheads with a former peasant. As they navigate their complex relationship, their interpreters find themselves caught in the crossfire and faced with difficult choices.
The play explores the delicate dance of negotiation, the burden of leadership in times of crisis, and the ever-present shadow of political manoeuvring, all while keeping the audience guessing about the true cost of compromise.
These two titans of 20th century history are brought to life in magnetic performances from Roger Allam and Peter Forbes. Many actors have taken on the role of Churchill, but Allam dispenses with the typical bulldog caricature and instead brings a degree of nuance to the role. Forbes makes for a charismatic Stalin, easily swaying between rage and fear.
There’s lots of fun to be had with the interpretation. Stalin has a (British) West Country accent, representing the geography of the Soviet Union, and this becomes a play as much about the importance of language and conversation as it is anything else.
As the interpreters Jo Herbert and Elisabeth Snegir cleverly elevate the characters from the sidelines, and as Svetlana Stalin, Tamara Greatrex represents the future of two empires.
With its razor-sharp dialogue and layered character portrayals, the production deftly balances historical intrigue with moments of unexpected humour, making it a thought-provoking exploration of power, diplomacy, and human complexity. The interpreters’ subplot adds an emotional undercurrent, highlighting how personal stakes often intertwine with global politics.
Littler’s direction ensures that the narrative moves at a brisk pace while allowing room for introspection, aided by Cat Fuller’s evocative set design of Soviet era furniture and Max Pappenheim’s atmospheric score.
With the world seemingly teetering on the edge of chaos once again, Churchill in Moscow examines what we can learn from the past in the context of the words that are spoken. This is more than a history lesson, it’s a deeply engaging theatrical experience.
For more information visit the Orange Tree Theatre website
