|
|
 |
| |
Why corruption no longer shocks
SPEECHLESS
Etcetera Theatre
Written and directed by Robbie Moffat Speechless looks behind the scenes of British politics. Moffat’s pleasant introduction and plea to consider the fact that this is his first foray into theatre in 15 years, enlists an initial willingness on the part the audience to enjoy the play.
However when at the end of the play Paul Cassidy’s character finally declares Number 10 “speechless” our initial willingness has been stretched.
As a whole the play does what it sets out to do. It exposes the corruption and manipulation behind the scandalous headlines regarding our politicians. Speechless also seems to want to shock with its revelations of bed-hopping, drugs and election rigging all taking place within the vicinity of number 10.
It is difficult to be shocked or surprised at this. As highlighted by the various newspaper cuttings of misdemeanours committed by politicians displayed on stage, society is saturated with such stories. So much so, that a play about the immoral intrigues of senior politicians is simply not intriguing. This apathy means it is difficult to comprehend the shocking revelations of Suzanne Harbison’s character, Myra, the brilliant but love-smitten speech writer.
Not an eyebrow rose at the prospect of a speech being specifically written to manipulate the voting public.
Harbison and Cassidy do their best to show politicians as the lowest of the low; but behind their cheap insults there are hints at a genuine sense of conscience. Harbison in particular gave an intense and energetic performance as Myra Macdonald.
Speechless magnifies what audiences have to read about everyday. Perhaps our despondent acceptance of politics as innately corrupt is the shocking result Speechless serves to highlight.
Until June 11
020 7482 4857
|
 |
|
| |
|
|
|
