Review: Make England Great Again, Upstairs at the Gatehouse

Francis Beckett’s Make England Great Again, directed by Owain Rose, sets up its scenario with brisk efficiency. The far-right Britons First Party has won an election, but without a majority; their solution is to dissolve Parliament in a bid to strengthen their hold on power. In the process, they ride roughshod over Britain’s unwritten constitution, provoking the indignation of King Charles (played with comic brilliance by Clive Greenwood).

What follows is a timely satire that weaves together political manoeuvring and personal intrigue. At the centre is new Prime Minister Max Moore (Silas Hawkins), a bloated figure of arrogance whose frequent line fluffs on press night undercut the sharpness of the writing. Still, Hawkins looks the part and gives Moore a swagger that captures the dangers of unchecked populism.

The supporting cast help carry the momentum. Greenwood, doubling roles, brings wit and comic presence, especially in his sparring with Max Moore. Abi Haberfield as Samantha is sharp and ambitious, clearly playing Max for her own advantage, while Miranda Colmans as Pam Jones embodies the weary frustrations of an ex-Prime Minister. The difficulty here is that while the character of Max Moore clearly had a contemporary reference point as a Nigel Farage figure, it takes a while for the script to make Pam’s character plausible. As an apparently young ex-teacher leading a coalition of opposition to right-wing populism, there is no modern-day reference (so far). Considering that the main characters are either real people or close representations of them, this invented character lacks plausibility and gravitas. However, Pam’s Zoom call with opposition figures trying (and failing) to unite against Moore drew the loudest laughs of the night, painfully recognisable in its depiction of well-meaning but paralysed opposition.

Beckett’s writing is the star here: brisk, funny, and often uncomfortably real. He draws on situations from interviews and party broadcasts, to domestic discomfort and royal audiences, keeping the storytelling fresh and compelling. One political speech even draws spontaneous applause. There are flashes of brilliance, particularly in the interactions between Max Moore and King Charles, where comedy and unease dovetail effectively. Yet the piece stops short of being either a full-bodied comedy or a gripping drama; instead, it hovers somewhere between the two, with the potential for more bite than it ultimately delivers.

Where the production falters somewhat is in its presentation. The direction often feels underprepared, with rigid blocking that fails to adapt to a space where the audience sits on three sides. Several moments leave characters obscured, breaking the flow of otherwise well-pitched exchanges. The set is serviceable but sparse: a couple of chairs and a table endlessly repurposed for different scenes, with little variation in lighting to distinguish between locations as distinct as Buckingham Palace, a prison, or a domestic setting. Apart from the spotlights of a TV studio scene, most moments blur together visually. Costumes, too, lack polish, sapping authority from characters who should project power.

Taken together, these elements contribute to a sense that the production is not quite fully realised. Considering its relatively long run, a greater attention to detail in presentation would make the piece feel more loved, and would help Beckett’s sharp script land with the full impact it deserves.

Make England Great Again is not flawless, but it is a timely and thought-provoking work. Its humour lands, its writing resonates, and its warning feels disturbingly relevant. With sharper direction, cleaner design, and more careful preparation, it could rise to the urgent piece of political theatre its script promises.

Directed by Owain Rose
Written by Francis Beckett
Lighting Design and Operation by Tim Solomans

Make England Great Again plays at Upstairs at the Gatehouse until 19 October.