The intimate setting of Finborough Theatre proves to be an ideal venue for The Passenger, a taut and intelligent exploration of political turmoil and personal reckoning. Adapted by Nadya Menuhin from Ulrich Alexander Boschwitz’s 1938 novel and directed by Tim Supple, this production grips from the outset, weaving a narrative thick with tension, moral ambiguity, and a quiet yet persistent dread.
At the heart of The Passenger is Robert Neumark Jones’ gripping portrayal of Otto Silbermann, a man caught in the slow unravelling of his world. Jones plays Otto with a balance of measured dignity and rising panic, capturing the way privilege crumbles in the face of rising fascism. His transformation from composed businessman to desperate fugitive is haunting, and his growing paranoia is made all the more tangible by the production’s claustrophobic atmosphere. Watching Otto navigate a world that no longer sees him as human is harrowing, yet Jones ensures there are flickers of dark humour and warmth amidst the despair, making him all the more compelling.
An emotionally charged thriller that grips you and refuses to let go
The ensemble cast, including Kelly Price, Ben Fox, Eric MacLennan, and Dan Milne, seamlessly shape the world Otto moves through, switching between strangers, informants, and bureaucratic gatekeepers with fluid ease. Their performances make every fleeting interaction feel significant – whether they offer kindness, suspicion, or outright hostility, each moment reminds us of the fickle and fragile nature of human decency. The tension is heightened by the subtle but effective shifts in movement and staging, creating a sense of motion even in stillness, reinforcing Otto’s entrapment in an inescapable cycle.
The minimalist staging, a hallmark of Finborough Theatre, is used to chilling effect here. Sparse yet dynamic, it allows the story’s psychological weight to take precedence. Lighting plays a key role, casting long, sharp shadows that mirror Otto’s own growing fear. The sound design by Joseph Alford is equally restrained yet impactful – quiet moments are left to breathe, amplifying the silence in a way that feels deafening at times. The occasional burst of sound – whether the distant rumble of a train or the abrupt shuffle of papers – lands with an unsettling precision, immersing the audience in Otto’s experience of constant unease.
This world premiere adaptation by Nadya Menuhin remains largely faithful to Boschwitz’s novel, keeping its stark realism and nightmarish pacing intact. There’s an almost Kafkaesque futility to Otto’s attempts at escape, as he is sent from one dead end to another, trapped not just by bureaucracy but by the creeping tide of fascism itself. His encounters with railway officials, former colleagues, and fellow passengers paint a bleak portrait of a society slipping into compliance, where fear dictates every transaction, and indifference becomes as dangerous as violence.
Final Thoughts ★★★★★
Would I recommend The Passenger? Without hesitation. It’s not the easiest watch, but it’s an unmissable one. This production doesn’t just hold up a mirror to history – it shatters it, forcing us to confront the jagged reflections of today. Taut, gripping, and devastatingly performed, it sinks its claws in and refuses to let go, long after the lights have faded. A stark reminder that silence and inaction are never neutral. No wonder it’s practically sold out!
Playing at Finborough Theatre until 15 March 2025.
Disclaimer: Ticket was purchased without any association or endorsement from the theatre.
