This is surely the most detailed stage
satire I have ever seen. It is not simply a diaphanously-veiled
re-telling of the phone-hacking scandal that hit the British press and
in particular the
News Of The World,
laying bare the corrupt complicity of media, politics and police to the
very highest levels; it is distinctly a cartoon version. Nevertheless,
writer Richard Bean has ensured that virtually every pen-stroke closely
caricatures a real-life character or event. The specificity is
astounding; little wonder that, although the production was scheduled
and rehearsed up more or less as normal, the National Theatre chose not
to announce its existence publicly until only a few days ago, once the
verdicts from the hacking-related trials had come in.
This short notice meant that press night was also the first public
performance, with a few consequent minor line-fluffs, entirely
understandable among a cast of more than two dozen over nearly three
hours. This is a big play, and Nicholas Hytner gives it one of his big
productions, with huge video screens acting as stage “wipes” while
showing mocked-up headlines and TV news clips, even supposed YouTube
mashups of the hapless police commissioner (a rare character with no
obvious biographical basis) and his repertoire of foot-in-mouthisms.
As the protagonist, news editor Paige Britain, Billie Piper is not in
any way impersonating Rebekah Brooks; in fact, some visual and
character traits of Brooks have been spun off into a second character
who is then portrayed as hopelessly naïve, in contrast both to Piper’s
figure and the actual former
News Of
The World and
Sun
editor. Robert Glenister enjoys every moment of his performance as, in
effect, Brooks’ notorious predecessor Kelvin Mackenzie; in contrast,
Dermot Crowley as the paper’s proprietor is less a simple analogue for
Rupert Murdoch than a broth of several owners of UK papers and even
former Irish Taoiseach Charles Haughey.
For this is both a specific dissection and a big-picture canvas. The
fictional paper here is called the
Free
Press because it stands in many respects for the entire sector,
and despite Bean’s masterly savage jokes, he pulls back in the final
minutes for the necessarily explicit straight-out indictment of our own
collective hypocrisy as a society with respect to both the hacking saga
and other press abuses. One of the hardest-hitting lines in the play,
“That’s what we do – we go out and destroy other people’s lives”, is a
direct quote from Britain’s real-life counterpart,
NoW news editor Greg Miskiw. This
is a much less elegant and subtle satire on the press than David Hare
and Howard Brenton’s
Pravda
which opened here 30-odd years ago; it is, however, more closely in
tune with its subject matter and its times.
Written for the Financial
Times.