Review: ROTUS: Receptionist of the United States, Park Theatre

After being a smash-hit at the Edinburgh Fringe last year, Leigh Douglas brings her political satire about a beauty influencer and ‘Make America Hot Again’ girl Chastity Quirke (also Douglas) who takes a job as the Administrative Assistant to Oval Office Operations – aka ROTUS, Receptionist of the United States.

It opens in Park Theatre this week and could hardly be more topical, with the current US presidential receptionist no doubt fielding frantic calls from Greenland and Iceland; the latter just wishing to make sure the president knows they are a different country.

Douglas brings a manic, high energy to Chastity at all times. She is more than committed to the role, and with strong comic timing. She’s always on the go too, moving around the small Park 90 right over to the audience, a physicality to the role. Her exaggerated gestures scream ‘rah rah America’ in that stereotypical way. As Chastity gets further drawn into politics (at least what passes for politics in America these days), violence and conspiracy come to the forefront — we learn more about her and how she’s not just a pretty face, but a keen political operator. 

As well as Chastity, Douglas brings us more characters, shifting her body. Chastity leans into space, driving the action, always on the move — everything about her is forward momentum. When she switches to the other characters, the older white (of course) Republicans are slower and heavier, Douglas shrinking back into herself and bringing out a low drawl instantly showing a different generation and authority. It’s interesting that these older Republicans are all interchangeable. Douglas uses the same shift, the same mannerisms and presentation for them all. Surely an intentional choice and one where the satire does really work, as looking at the current US government, all those men may as well be interchangeable blanks.

With a minimal set, a small desk for ROTUS and less than a handful of props, there is an almost total reliance on Douglas’ presence. It does, however, unintentionally mirror the show’s politics: it looks glossy, but is ultimately hollow if you look for substance beneath the performance. The directorial choice (Fiona Kingwill) here does manage to keep all of our attention directly on Douglas. It is supported by lighting design by Rachel Sampley which builds into the mood: bright and shiny for Chastity, dimmer, duller for the old Republicans. Voiceover and slight sound designer (Hattie North) do much the same, but also allows, amusingly, for Chastity to interact with her own voiceover, to move the story forward.

Mainly, though, the satire feels really watered down, like a short sketch that just runs and runs. There are some really good laughs at the start, but the show broadly looks for farce rather than satire, and anyone booking for political satire might be disappointed. Yes, moments are funny, but the satire is as shallow as the Drumpf administration. The show feels misbilled; while there is 100% an audience for this brand of high-energy farce, it’s not the satirical evening promised by Park, and it’s not really for me.

There is no denying Douglas’s talent; her high-energy commitment and physical character work are the clear highlights here, but her script is a 10 minute sketch stretched really thin.

Written by Leigh Douglas
Directed by Fiona Kingwill
Lighting Design by Rachel Sampley
Sound Design by Hattie North

ROTUS: Receptionist of the United States plays at Park Theatre until Saturday 7 February.