Reviewed by Barry Lenny, Thursday 2nd November 2017.
Red
Phoenix Theatre has made it their mission to produce only plays that have never been performed in Adelaide. They have taken that a stage further by producing
The Conspirators, by Václav Havel, a play that has hardly been performed at all, anywhere, in its English translation by Tomas Rychetsky and
Carol Rocamora.
A revolution in an unnamed European country has seen the overthrow of the dictator, Olah, who has fled and is, initially, presumed dead. The Prime Minister, who has replaced him, though, is seen as weak, and Olah's followers could return to power through a counter-coup. Those around him decide to fake a conspiracy to overthrow him and install military rule. They expect that, under martial law, as led by themselves, they can increase censorship and, by torturing a political prisoner, Stein, the Prime Minster's secretary, they should be able to control the people through fear. Which of them, though, will head their small committee?
There are the heads of the army, the police, the law, and the censor. Enter Helga, a rich and powerful woman whom, it appears, no man can resist. She is a widow and the power behind the throne, and she has her own agenda; to thrive and prosper under the new regime. Using her sexual wiles to manipulate the four men, she is duplicitous, shifting her support from one to another as each looks like the better option at any one time, influenced by their own personalities and external happenings. The revelation that Olah is alive and well adds urgency to their deliberations and brings them to one, inevitable conclusion as to who is the only person who can unite the people and run the country.
Aside from being a writer, Václav Havel, (5 October 1936 - 18 December 2011) was a political prisoner, and later the first President of the Czech Republic, from 1993 to 2003, having previously been the last president of Czechoslovakia, from 1989 until its dissolution in 1992. He knew a bit about politics. He wrote twenty-five plays, this one is his twelfth, from 1971, as well as collections of poetry and many non-fictional books.
Adrian Barnes is a Colonel Blimp character as Major Ofir, the Head of the Joint Chiefs of Staff, parading around, never without his ceremonial sword, tweaking his moustache and making passes at women, including Miriam, the very young niece of Helga. We quickly discover that he is under Helga's influence as her first choice to lead the country. Barnes captures his character superbly, blustering when things are going Ofir's way, and revealing his cowardice when there is actually a chance of danger.
Emily Branford plays Helga, the clever, crafty, and very manipulative instigator of the counter-counter-revolution who will be the real leader, no matter which of the four men actually ends up in the job. Branford is sensational in the role and has the audience around her little finger even more tightly than Helga has with the committee.
Brant Eustice is Colonel Moher, the sadistic Chief of Police Intelligence, a fan of mindless torture and not a man to cross. He is also not averse to a little S&M with a riding crop. This play has something for everybody. Eustice turns in a strong performance, making Moher as hard as nails and as cold as ice, until things begin to unravel.
Tony Busch plays Dykl, the State Prosecutor, a master of doubletalk and another lecher, attempting to use his position to pressure his young secretary into a sexual encounter behind his wife's back, and failing miserably, as she is spying for the Prime Minister. Busch cleverly gives his character the sort of attributes that we often feel define many of our politicians, swaying to and fro with each opportunity to do well for himself
Aram, the Head of Censorship, a mental lightweight with far more interest in the snacks than in the committee meetings, is played by Nick Fagan who presents a character whose brain, like his stomach, is out to lunch, except when there is any personal danger, when he becomes hilariously focused.
These five, then, are the conspirators of the title.
Steve Marvanek is the style conscious, but ineffectual Prime Minister, resplendent in his light blue suit and red tie, not to mention his bright blue, shiny hat. He displays the Prime Minister's indecision and impotence marvellously when confronted by Moher, and his feeble attempts to retrieve his secretary are thwarted.
It is sure to remind you of the final episode of Yes, Minister that then led into Yes, Prime Minister. The machinations and shenanigans involved in deciding who was to become the new British Prime Minister, in that television classic, have direct parallels in this play as the conspirators vie for the top position on their committee.
There is more great work from Martha Lott as Helga's sister and Dykl's wife, Edith, Gabi Douglas, as Miriam, Anna Bampton, as the maid and the secretary to Dykl, Hugo Fielke in several roles, and Russell Slater, showing the pain as Stein. Kyla Booth and Ruby Faith are humorously imposing as Moher's armed bodyguards.
The whole thing is set against black walls covered in slogans and lines from the play in Nicholas Ely's striking set design, which is evocatively lit by Richard Parkhill. Libby Drake's 1950s inspired costumes add colour and movement.
Although the first act is rather wordy, it sets up the busy action in the second act as everything starts to get untidy with the news of Olah's survival. One might suggest a bit of discrete work with the blue pencil but, as this is the first time it has been seen in Adelaide, that would have detracted from the enterprise of presenting new works had it not been performed in its entirety.
Once more, Red Phoenix has lived up to its high reputation for quality theatre, so be sure to catch this production.
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