Satire, farce and drama combine in this portrait of a Prime Minister undone by her own ambition.Summary
Rating
Good
It’s been a week of seeing two stage representations of Liz Truss, which is not usual for anyone. The first was a brief appearance in Dear England at the National Theatre, the second, a more detailed study in The Last Days of Liz Truss? at White Bear theatre.
Truss is only included in Dear England as part of a joke about inept politicians. This is her legacy in the national consciousness, a fool with a disastrous 49 days in power who was undone by her own incompetence and ideological dogmatism.
As someone whose politics is firmly on the left, what I was looking for from a play about Truss was a show that mocked her in the style of the Daily Star’s lettuce stunt. What I was not prepared for was to sympathise with her.
Oxia Theatre’s one woman show portrays Truss as she reflects on her career and her astonishing time as Prime Minister, during the final hours of her premiership. This is more than Truss the political punch line; she is a compelling figure because the show embraces her complexity. It explores her plan, however ill-conceived, to fix the problems of the country, specifically our ailing economy, complete with a poignant monologue on the importance of growth for the future. The complexity of Truss as a character is built up through an outstanding performance from Emma Wilkinson Wright, which captures Truss’s voice and mannerisms. Wright is completely mesmerising throughout.
The script is sharp, with great writing from Greg Wilkinson, including humorous farce; a speech on why England has the best cheese in Europe, biting satire; any moment a Tory grandee is evoked and illuminating insights, such as Truss’s reframe of “get noticed” showing her uncanny ability to turn heads in conservative circles.
The tension is strongest in the second half, which vividly dramatises Truss’s unravelling and sets up her future career as a right-wing shock jock, where she still manages to “get noticed” despite being a joke to many. There is a question mark in the title, indicating that Truss might not be gone for good.
The narrative is focused on the events of Truss’s life and is built around key political moments. Personal moments; her children, her family, are glossed over, and there is little sense of personal conflict. However, Truss’s famous stubbornness is well established, and the narrative begins by showing the cultural background that shaped her.
There are many strong comic moments throughout, such as Truss’s infamous karaoke performances of 80s hits like Material Girl. Spitting Image legend Steve Nallon delivers a voiceover portraying a whole range of characters, from Margaret Thatcher to Jacob Rees-Mogg, all brought to life by Nallon’s mastery of impressions.Lighting is subtly used, dimming in the more poignant moments to add emphasis, such as during the monologue articulating the importance of growth.
I certainly did not expect to feel compassion for Liz Truss, which shows how effective the writing and acting was in taking me inside her head. I am reminded that we are all the heroes of our own stories.
I was left thinking that we are still trying to tackle the same economic problems as Truss, and we are still no closer to finding a solution.
Written by: Greg Wilkinson
Directed by: Anthony Shrubsall
Produced by: Oxia Theatre
Light and sound design by: Tom Younger
Set and costume design by: Male Arcucci
The Last Days of Liz Truss? plays at White Bear Theatre until Saturday 29 March.
