This play by Creator/BertoltBrecht is an odd fusion. Openly intended as a RomanAClef detailing Hitler's rise to power, while borrowing from gangster tropes and dialect (Ui is basically [[XMeetsY Al Capone meets Hitler]]), it's also written in Shakespearean blank verse and shows a certain influence from ''Theatre/JuliusCaesar''.
!! Provides examples of:
* AuthorTract: like pretty much everything Brecht wrote
* BilingualBonus: Character names are often variations of the name of the historical figure they are based on (i.e. Ernst Rohm is now Ernesto Roma), but with Hindenburg, he is called Dogsborough (It's a pun- Hinden sounds like hunden, which means dogs/burg as in burgh/borough)
* DoesThisRemindYouOfAnything: The ending actually has placards indicating what various things should remind you of.
* ForegoneConclusion: It's in the title
* HitlerCam: Pretty much required for Ui's ending speech. One production (the one [[TheDesAngesClan Amelia Des Anges]] was in) managed to pull this off with ''fifteen'' Uis at once.)
* ANaziByAnyOtherName: It's not uncommon for productions to give Arturo a [[AdolfHitler toothbrush mustache]] to drive the point home.
* NewEraSpeech: Ui ends the play with one
* SurrealHumor: A staple of Brecht's work, and often used.
* SophisticatedAsHell: Everyone talks like Creator/DamonRunyon characters trapped in a Creator/WilliamShakespeare play (or maybe Shakespearean actors in a Runyon story?)
* TrippyFinaleSyndrome: Commonly used.