The Tricycle’s “tribunal” dramas, edited
by Richard Norton-Taylor from the proceedings of judicial or
quasi-judicial hearings, are rightly renowned. This latest is derived
from the hearings of an inquiry into the death of an Iraqi man in
British military custody in 2003; Sir William Gage’s final report is to
be published in September.
And yet
these presentations are not, at bottom, intended to elicit responses
from us as theatregoers. We do not look for metaphor in either text or
staging: Nicolas Kent always shows us matters as naturalistically as
possible, even tending towards the banal. (At one point in this piece,
Gage grumbles about a BT service problem that has left them temporarily
without email services.) Nor do we immerse ourselves in narrative or
character in the normal way. There is no need for us to suspend
disbelief, because we know that these things have been said by the
people portrayed (albeit not by those individuals physically before
us), that these events have in fact occurred. Rather, we engage as
spectators not to art or entertainment, but to politics and public
misfeasance: as citizens, in fact… and it continues to be a telling
point that re-enactments like this can provide us with a more
meaningful context for live civic engagement than the actual affairs or
processes themselves.
Here, then, one
can admire Dean Ashton’s performance as Corporal Donald Payne, the
first British soldier to be convicted of a war crime under the
International Criminal Court Act 2001; Ashton bristles throughout,
showing Payne’s barely concealed contempt and aggression towards his
questioners. One can be grimly amused by Simon Rouse’s rendering of
then-Armed Forces minister Adam Ingram’s inanely evasive replies to
repeated straight questions. But the core of this 105-minute
presentation – what kept the woman beside me gasping and tutting
throughout in outrage – is the reality that, 31 years after the British
government publicly forswore the use of interrogation techniques such
as hooding and making suspects adopt “stress positions”, these were
routinely used by the army in its policing role in Iraq; that systemic
uninterest in observing the Geneva Convention and human rights laws led
to a climate in which Mousa could be in effect punched and kicked to
death, and be found subsequently to have 93 distinct injuries on his
body. These are not matters for which performers and theatre-makers are
answerable to an audience.
Written for the Financial
Times.