David Edgar is a consummate master of
scenarios. His characters debate nuances of wording, unroll assorted
sequences of whataboutery and somehow almost always manage to make the
consequences luminously human rather than aridly theoretical, even when
the debate is between 17th-century theologians about determining the
text of the King James Bible as in his
Written On The Heart for the RSC
last year. He is also unabashedly politically engaged, which can make
him seem something of a dinosaur, as in the case of the unjustly
maligned
Playing With Fire in
2005. In
If Only, both these
strains are well to the fore. It would be easy to dismiss much of it as
old-leftie wish-fulfilment. Easy, and dead wrong.
The first act takes place in April 2010. A Conservative, a Liberal
Democrat and a Labourite, each reckoned a coming power within their
party, are stranded in Europe by the Icelandic ash cloud and trying
together to get back to Britain to resume their roles in the current
election campaign. As they travel, they speculate on possible electoral
outcomes, in particular the alignment of the Lib Dems in a hung
parliament. There is much scope for satire involving 20/20 hindsight,
and it is even plausible that such “war-gaming” could have taken place,
although the idea of a tripartite conspiracy to shape the eventual
consequences is somewhat fantastical.
But this is all a sucker punch for the second act, set in the near
future on the centenary of the outbreak of World War One, when the trio
must decide what to do with their knowledge in the face of a
rightward-lurching government. These scenarios, too, are terrifyingly
plausible; such hope as Edgar may evidence is inextricably grappling
with a tar-baby of desperation.
This is not a perfect play: the fourth character is too obviously a
holy fool in the first act and a convenient ogre in the second. Jamie
Glover may be a little too mannered in Act One as Peter the Tory. But
it trenchantly identifies a looming threat in the British polity as a
whole, and Angus Jackson’s production keeps the pulse beating in both
the characters and our common citizenship. It is almost exactly
everything that one thinks of Chichester as not being, even under the
current astute management. But it is riveting, and it is important that
it be seen.
Written for the Financial
Times.