★★★★★

This review may contain spoilers

The Orange Tree Theatre's (OT) world premiere of Howard Brenton's Churchill in Moscow did not disappoint, as OT Director Tom Littler and the crew masterfully transported the audience back to 1942, when the fate of humanity rested in the hands of two men from worlds apart—or so it would seem.

Roger Allam assumed the role of British Prime Minister Winston Churchill, while Peter Forbes portrayed Joseph Stalin, General Secretary of the Soviet Union.

Both actors embodied their characters excellently, from their powerful delivery to their convincing appearances, although their Russian were somewhat questionable.

Allam and Forbes shone during their monologues but were even more captivating when negotiating war tactics.

Credit must go to the production crew, who not only transformed the actors into convincing 1940s politicians and public servants but also made the intimate OT stage feel like Stalin's personal residence, Dacha No. 7, in every scene.

As well as British Ambassador to the Soviet Union, Alan Cox played Churchill's 'Little Nanny' wonderfully (credit: Tristram Kenton).

Much like during the real Moscow Conference, the roles of ambassadors and interpreters were key in the negotiations between the two nations in their fight against Adolf Hitler—something clearly reflected by the rest of the cast.

Churchill's delegation, consisting of British Ambassador to the Soviet Union Archie Clark Kerr (Alan Cox) and fictional interpreter Sally Powell (Jo Herbert), contrasted sharply with Stalin's delegation of Commissar of Foreign Affairs Vyacheslav Molotov (Julius D'Silva) and fictional interpreter Olga Dovzhenko (Elisabeth Snegir).

Their interactions propelled the story and provided memorable crowd-pleasing moments, such as the humorous exploration of why the British say "knackered" or why Russians drink so much, highlighted as Cox's character chunders vodka.

Equally significant was the role of Svetlana Stalin, played by Tamara Greatrex in her stage debut. Her character subtly revealed the small fragment of humanity Stalin either genuinely possessed or sought to project to the British Prime Minister.

The script and its delivery were impeccable—witty and humorous without ever straying from the story's urgent undertone: the fate of the world depends on these pivotal meetings.

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