Brisbane review - Accidental Death of an Anarchist: thought provoking absurdist classic

By David Wilson

Accidental Death of an Anarchist

Written by Dario Fo

Translated by Ed Emery

Adapted by Helen Strube and Deirdre Grace

Produced by PIP Theatre 

Director: Calum Johnston 

Stage Manager: Courtney Farrar

Dramaturg: Helen Strube

Costume Desiger: Adelaide Lukin

Lighting Designer: Noah Milne

Production Manager: Amelia Slatter

Marketing Director: Jenna Todd 

Photography: PIF Productions  and Lyrics by Lisa Kron

Produced by PIP Theatre https://piptheatre.org/accidental-death-of-an-anarchist/

At PIP Theatre Milton until 2 August 2025

Tickets are $50 adult, $40 concession, $35 under 30 available https:piptheatre.sales.ticketsearch.com/sales/salesevent/142316

Based on the original 1970 play by Italian Nobel laureate Dario Fo, this local adaptation wonderfully captures the essence of the absurdist classic, leaning heavily into the disturbing themes of state corruption and the role of power in society, embodied in a unique and chaotic blend of physical comedy, clowning, farce, slapstick and political satire.

Fo’s original work, first published in 1970, was based on the 1969 Piazza Fontana bombing and the death of Giussepe Pinelli, an Italian ‘anarchist’ during a police investigation in Milan. The classic, which was deliberately intended for local adaptation, has been performed in over 40 countries, such is the social relevance of the underlying themes.

The creative team at PIP Theatre has done a wonderful job of telling this important story through the local, pre-Fitzgerald inquiry lens to showcase the chaos, corruption and absurdity of power. In this very clever adaption by Helen Strube and Deidre Grace, the Queensland police force faces public outrage after a young, falsely accused anarchist dies during interrogation. Conflicting reports emerge: initially deemed an “accident,” the death is later reclassified as “suicide.” Amidst the scandal, the Maniac is brought into the station for “impersonation.” Legally certified as insane and unable to be held, he seizes the chance to impersonate a judge reopening the case, a forensic expert, and a bishop. With wit and chaos, he becomes the people’s unlikely hero—and the police’s worst nightmare.

The very confident direction of Callum Johnson was evident throughout the performance, with his penchant for physical comedy and clowning finding the perfect vehicle. The minimalist set allowed the performers to perform at full throttle and without restriction, and the very clever depiction of the outside of the police building, complete with a necessarily effective crashmat, was very well done indeed.

The six person cast was wonderful, all pushing the boundaries perfectly as appropriate for an absurdist farce. They collectively embraced the silliness of the exaggerated characters, physical humour, disguises and improbably scenarios, while maintaining an eye on the underlying social commentary.

Deidre Grace was simply unstoppable as the Maniac, injecting the perfect amount of ‘unstable’ into this very unlikely hero. This extremely demanding role is not only dialogue heavy, but also relies heavily on physicality and timing, all of which Grace unleashed on a very appreciative opening night audience.

Rebel Star was the best type of outrageous as Superintendent Biscoff, wonderfully exaggerating the character’s corruption and incompetence in equal measure. Star’s very diverse performance experience was on full show, perfect for the role.

Izabela Wasilewska was an absolute presence as Detective Hallaran. Her level of menace was dialled up to 11 and was perfectly on point.

Greg Scurr was excellent as the haplessly incompetent Inspector Louis. Scurr’s use of timing was impeccable, with his character’s slow wit reflected perfectly in his physical performance.

Dana Summer was an audience favourite as PC Sherbet. Summer brought a wonderful physical presence to this surprisingly complex role. Her ‘solo’ was a showstopper!

Isaiah Harrison was wonderful as journalist Christine Masters, providing a strong baseline from which the chaotic absurdity could be referenced. His imposing physicality comedically highlighted the improbability of the situation, and his versatility (and love of crash mats) was on show throughout.

It is wonderful that PIP Theatre has brought this important work to Brisbane, and even more so given the brilliant local adaptation. PIP continues to presenting socially relevant work, through a confident creative team and a talented cast of established and emerging professionals.

I encourage you to see this thought provoking absurdist classic.