'This House', a Jonathan Church Productions, Headlong, National Theatre and Chichester Festival Theatre co-production, has been on tour, as well as having enjoyed a favourable run on the West End; here it was shown online as part of the Natioanl Theatre's initiative to keep theatre alive during the coronavirus pandemic. So, with the plethora of reviews already written about this play, and all unanimously proclaiming its virtues I wonder what precisely I can add to this, and if I am honest, then perhaps precious little.
I was certainly around in the late '70s, the time when this play is set; but was far too young to be aware of or indeed interested in anything political at that time. Reading the programme and the list of names who appear in this play, all of whom actually existed, and indeed were probably quite well-known then, I could only say I was aware of a single handful.
However, did any of this matter? No, it didn't. Taking the play very much for what it is, a play, with the same mindset as I would have for any piece of writing I had previously no knowledge, I can honestly say that it was indeed a most illuminating and cleverly written exposé of the machinations of politics before it became a 'reality TV show' for all.
The play utilised a very large cast [something the politicians may not approve of in an effort to cut costs.. but something I applaud wholeheartedly] and with fast-moving dialogue interspersed with 70s style rock music and chorus movement / song it certainly didn't fall into the category of maudlin docu-drama. With the Speaker Of The House introducing the various characters as they entered, and us the audience being given fleeting and superficial glimpses of these people, the story did become rather difficult to follow at times, but, hey, that's politics for you! And with well researched accuracy on the customs, practices, and layout of The Palace Of Westminster the play also served to instruct and inform. It did this though in the most human and entertaining of ways.
The play shows the very human(e?) side of governing a country. We are in the '70s with a labour government but ruling only by the skin of their teeth. It is a 'hung parliament' and the rouses they devise to bring the minority parties on their side in order to stay in power, as well as counting on an age-old custom of 'pairing', showed us exactly how perspicacious and conniving these politicians were and indeed how fragile their jobs. The play ends with the labour defeat and the very start of Margaret Thatcher's tenure.
What struck me perhaps more than anything with this play was that this was so very similar to our present day government and the parallels were abundant. The agendas might have changed a little, but the strategies and haven't and the issues are as relevant now as ever. One thing that has changed somewhat though is the marked class difference between the two major parties. In this play it was almost comically portrayed as 'an old boys' network' against 'rough speaking common man'. I am very happy to see that the boundaries there at least have blurred somewhat in the last 35 or so years.
The set design was marvellous (Rae Smith), seeing the back view of Big Ben atop a cleverly designed multi-functional set below. The directing was solid and creative (Jeremy Herrin), keeping the pace flowing but never too quickly to let it run away with itself; keeping that delicate balance between realism and 'theatricality' nicely in tow. The truly ensemble cast were brilliant, and their performances enjoyable to a man. I am not highly politically motivated, nor do I really follow politics, well not until quite recently that is. But now with Brexit, Covid and goodness know what else, it is unavoidable and a major part of our daily lives, and so politics affects us now more than ever.
Perhaps I was one of those who allowed those entrusted in running the country to do so without worrying to much about it all. A very '70s mindset perhaps? However, it is full credit to all involved in this sometimes darkly-humorous, thought-provoking, political manoeuvre of a play that it held my attention right until the final blackout. The 'ayes' have it!
Reviewer - Matthew Dougall
on - 2/6/20
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