A bombardment of propaganda that will send you into a philosophical spiral where power, truth, and the ethics of political persuasion are questioned. Rating
Unmissable!
Caryl Churchill‘s new short play Triumph is, at a mere fifteen minutes long, nonetheless a gut-punching, grisly reflection of the state of politics. In this world, the truth isn’t the truth, but a malleable statement bent to serve the party line and further the emperor’s agenda. With no journalistic integrity left to hold those in power accountable, the faceless emperor wields his will over the plebeian masses, who are seemingly unable to defend themselves.
On the TV screen as the audience enters is the proclamation that “Everything said about the emperors comes from The Twelve Caesars by Suetonius”. The Twelve Caesars, written in 121 AD, is a chronicle of a dozen consecutive Roman emperors, containing gossip, eccentricities, and displays of absolute power spanning 165 years, beginning with the reign of Julius Caesar. Churchill has been galvanised to draw parallels between modern politics and ancient history through the lens of Suetonius’ work. History is destined to repeat itself. Triumph poses the question: Has humanity really grown and improved since that time?
James Macdonald captures the poignancy of Churchill’s writing in his minimalistic but ominous direction. Fire pits burn before a lectern in front of a blood-red backdrop, featuring a gold laurel wreath on one side and a bright-white, starched bed on the other. Macdonald emphasises the public and private life to show vulnerability and conflict.
The play follows Press Secretary, Iris (Kate O’Flynn), who falls in love with a reporter, Marcus (Matthew Beard). They mistake their initial attraction for being soulmates, but there is something unheimlich about their allure. They are less soulmates than they are star-crossed lovers.
Iris (fittingly named after the messenger god) first introduces herself as Julie, adopting the illustrious emperor’s name as a pseudonym and indicating her allegiance. She teases Marcus when he does not believe her fake name: “Do you usually not believe what you are told?” Marcus is trained to question everything with cynicism, yet Beard’s Marcus is not cold and jaded. He gives the impression of a down-on-his-luck artist. He is charming, warm and endearing.
Marcus applies his critical judgement to everything. He is the opposite of Iris, who parrots what she is told. He is grappling with the responsibility of the press to expose corruption and impose culpability on the emperor, but he doesn’t want to draw attention to himself. He understands that he cannot be ambitious and fly under the radar.
At the periphery and always surveying, is Rufus (Sargon Yelda). He is the cold and stoic emperor’s lackey, portentously carrying out the emperor’s will. His taciturn delivery of key lines such as “The emperor often changes his mind” leaves an unsavoury impression on Iris and the audience.
O’Flynn as Iris is outstanding. Donning the perfect blonde wig and primary blue jacket, she is the pristine orator for her leader. Every statement she projects in her press speeches are strung together faultlessly. They are delivered as though they are inconsequential and connect to nothing before or after them. The barbaric and gruesome statements are juxtaposed with pleasant platitudes. Joy at the hoards of gold and pearls being brought to the country is followed instantly by the matter-of-fact disclosure that virgins will now be raped so that they can be murdered. Triumph challenges you to discern between news and gossip, to weed truth from lies and to battle with what you believe to be true.
Churchill uses The Twelve Caesars to hold a mirror up to the crumbling state of modern politics. Triumph presents a political landscape where honour and integrity have dissipated to make way for fear and ambition, leaving audiences in despair.
Written by Caryl Churchill
Directed by James Macdonald
Produced by Tom Horton
Triumph plays at the Almeida Theatre until Friday 23 October.
