Georg Büchner’s Woyzeck is one of the most performed plays in German theatre, despite being left unfinished at the time of the playwright’s death. The text is in fragments, with some companies — such as the Abingdon Drama Club here — preferring to perform Woyzeck in this state (although there are versions available where editors have filled in gaps).

This production’s response to the fragmentation is the use of projections which inform the audience of location and time scale. Set over a period of about three years, the story charts the experiments on, and treatment of, psychiatric subject Franz Woyzeck (Tristan Kear). Riddled with anxiety about having a child out of wedlock with partner Marie (Liz Adams), his health further worsens as he is forced to eat nothing but peas in a bizarre experiment by a curious doctor (also Adams). Feeling estranged, long-suffering Marie attracts the attention of a military man (John Hawkins). It proves to be the final straw for Franz.

ADC’s production is full of heat and energy, resulting in a frenetic spectacle. From the use of flickering lights through to a brooding soundtrack, director Michael Ward bludgeons the audience’s senses into submission, obviously intent on spreading the madness from the stage to the stalls. It is a bold technique, and one that will divide opinion. Increasing disorientation, some of the actors play multiple roles, while wearing the same costumes (all three performers are in matching white dressing gowns, almost disappearing into the stark white set). Throughout, the trio seem to be competing for who can be the strangest stage presence.

The play itself is equally as deranged, replete with some almost psychedelic dialogue. Perhaps this is down to the translation from the German, but there’s an inherent oddness here too.

The dislocation meant I did feel consistently unengaged. Yet I am immensely curious to find more out about the play and its writer. A victory of sorts, then.