THE PRESIDENT'S HOLIDAY
Hampstead Theatre, London NW3
Opened 22 January, 2008
**
I was immersed in the Edinburgh
Festivals when the failed Soviet coup took place in August 1991, and so
missed almost all the drama; Penny Gold’s play (in a co-production with
Southampton’s Nuffield Theatre under Patrick Sandford) brings it all
back. The sensation of missing almost all the drama, I mean.
This is Gold’s second play about the coup; she has previously written
the radio piece Three Days That
Shook The World, which observed it from the outside. Here, the
setting is President Gorbachev’s dacha,
where he is holidaying with wife Raisa, daughter, son-in-law and two
young granddaughters when they are placed in confinement by troops sent
by the Moscow conspirators, aided by Gorbachev’s chief of personal
security. Over three days they try first (successfully) to receive news
from outside; then (unsuccessfully) to get word back out that Gorbachev
had not, as was claimed, suffered an incapacitating stroke; and finally
engage in brinkmanship, refusing to give an inch until restrictions on
them are lifted. That, too, was successful, but by then events had
moved on further still, propelled by Boris Yeltsin.
Throughout, the Gorbachevs talk: about what is happening in the dacha
and in Moscow, what they might do, each other’s behaviour under stress.
And, apart from the children, they all talk as if they can constantly
feel the hand of history. Now, the trouble with the hand of history as
a dramatist is that it’s seldom much good at naturalism. When he first
finds the phone line cut, Mikhail remarks, “This is it, Raisa. It’s
happening.” An exchange with his treacherous security chief turns
ideological, as Gorbachev declares, “People must have the freedom to
decide some of their own affairs.” The supportive Raisa affirms, “We
face it together, Mikhail, always. United front.” Virtually every line
sounds dedicated towards a heroic portrait. It feels like a work of
propaganda: neither the impassioned nor the venomous kind, but the
dutiful. The between-scenes video and audio echoes of the fate of the
Romanovs at Yekaterinberg add a further sonorous boom to the
proceedings. Husband and wife Julian Glover and Isla Blair as Mikhail
and Raisa are fine actors, but these must be some of the least
convincingly human roles in their careers, not excluding parts in Doctor Who at its flimsiest.