Written by Cullen and Sasha Wilson

Direction and Dramaturgy by Hannah Hauer-King

Roguish, wily, foxy, and completely out of his depth – entirely surrounded by bigots, with a hideously xenophobic home secretory, and possessing a remarkably sentient mop of hair…

Oh, not that Boris. But you’ve probably never even heard of this one.

Though that doesn’t stop The Brief Life and Mysterious Death of Boris III, King of Bulgaria from drawing a few sharp observations with a contemporary Westminster.

No no, this Boris ruled Bulgaria from 1918 to his rather suspicious death in 1943, just after a meeting with the then-allied Fuhrer. Shirking responsibility, playing checkers whilst the Axis and Allies played chess, the wily and cunning King was reluctant (to say the least) about which side to support, but as Hitler’s Germany was marching east, there was little Boris, or Bulgaria, could see themselves doing. Ultimately, there was no laugh or evasion strong enough to eclipse the terrible choices Boris must make.

With the talons of the Nazi regime looking to Jews outside of the immediate border, Boris seeks to ensure no blood will be spilt from his people. But with the jaws of the enemy opened towards the Soviets, Boris’ lackadaisical and dodging methods began to irritate Hitler. But more crucially to history, Boris begins to grasp the necessity for action and (eventually) acts to secure the safety of 50,000 Jewish lives from the death camps of Hitler’s Third Reich.

Entirely set up with enough nudges and winks to set off a collective eye-roll, Hannah Hauer-King’s direction manages the incredible playing into the anticipation – lampooning itself right into the absurdist meta-narrative, ello ello accents and ludicrous humour, impaling itself on its own sword – or rather, a spiffingly nice pen.

And by lord, it works a treat.

The physicality of the performance is enrapturing in moments, but no more so than the half-hearted and meek truth behind the rubber spine of the animated nature in Joseph Cullen’s leading role. If it isn’t an immediate tap at the funny bone for audiences, this Looney Tune brought to a mortal world, as the gradual weight of it all hunches them further and further into disarray before a rather glorious ‘redemption’ of sorts.

Though pushing laughter to the forefront, the witty writing allows room for the evolving and enriched score with live instrumentals to diversify the text. Not only from the Slavic folk tradition, but too far more sombre moments of reflective gospel, and bouts of injustice. Gradually, the Cullen’s script strips back the masks of comedy to reveal an open wound, one decade in making, unspoken and unseen by those from the other side of the Iron Curtain.

But whilst we’re on this side of the curtain, the musicality of it all will aid in the storytelling elements – co-stars Lawrence Boothman, Clare Fraenkel, David Leopold, and Sasha Wilson bringing equal levels of surreal energy and characterisation. A special nod to Leopold, who switches between righteous fury and comedic caper with effortless ease, all while providing many of the show’s strongest vocals alongside Sasha Wilson’s equally emotional moments.

Out of the Forest theatre’s Boris, for the frivolity, laughter, and enjoyment the audience may deservedly take from the play, possesses sharpness – encapsulated by a strikingly effective scene, more chilling than it has any right to be – and all it takes is a pressed grey hat and coat on a stand, with just the right purpose of lighting. The comedy here belays a tragedy, a painful stain on the annuals of history; as successfully captured as it is resoundingly fun, engaging, and melodic.