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    ‘People feel terrible. They want to laugh’: can comedy make light of Trump 2.0?

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    “When Trump first won, there was almost a novelty to having a character such as him in a position of such vast responsibility – that was a new thing for comedy to address,” said Andy Zaltzman, chair of Radio 4’s The News Quiz and the satirist behind The Bugle podcast and multiple political comedies.The first Trump presidency spawned debate about whether it’s possible to satirise a man whose extreme appearance and rhetoric mean he presents as a walking caricature. The New York Times even ran a piece titled “How President Trump ruined political comedy”.Now comedians in the UK and US are trying to work out how to deal with a second, possibly darker, Trump presidency.“Trump is so ridiculous that he makes comic extrapolation harder,” said Chicago-born, London-based standup Sara Barron, who found much of the comedy targeting Trump “did not provide catharsis”.Zaltzman has just embarked on a tour and, post-election, is writing new jokes exploring the global implications. Trump’s absurdity means there are obvious punchlines, “but it can be harder to get to the heart of the issue”, Zaltzman said.“Comedy is so ubiquitous – anything that happens, there’ll be a thousand memes and TikToks. The challenge is finding an original angle. That’s always been difficult with Trump.”View image in fullscreenPreviously, Zaltzman’s solution was presenting Trump’s brain (a cauliflower) on stage, using chopped-up Trump speeches to make it “speak” about Australian cricketers: “I figured no one else would be taking that angle.”In the run-up to election day, Barron found a personal angle. Coincidentally, her career thrived under Trump’s last tenure, so she made a sketch satirising the instinct of many to think: “This terrible thing is happening, but here’s why it’s OK for me!”Fellow US-born, UK-based standup Janine Harouni isn’t happy that Trump is back but said: “It’s a gift for comedy because people are feeling terrible and they want to laugh.” During Trump’s first term, Harouni produced Stand Up With Janine Harouni (Please Remain Seated), in which she explored the political distance between her left-leaning self and her Trump-supporting father.“I wrote that show because I love my dad and cannot reconcile his political beliefs with how I feel about him personally. My father is also an Arab, son of immigrants, so I was really struggling with that,” Harouni said.She approached this via comedy because it felt so thorny. “Comedy is a release of worry and fear. If you can find a way to laugh at something that upset you, it doesn’t have control any more,” Harouni said. “I wanted it to feel healing and hopeful.”skip past newsletter promotionafter newsletter promotionView image in fullscreenBarron witnessed that power while performing on election results day – a reminder that comedians can “give people some kind of respite”, she said. “It was an electric gig. Everyone was so happy to be with like-minded people.”Catharsis is a driving force of political comedy, said Zaltzman: “It gives people a chance to laugh at serious news, which is valuable.” It can also challenge authority. “It absolutely has to hold power to account,” said Lewis MacLeod, the voice of Trump on Dead Ringers. “It becomes its own protest, but it’s done with laughs.”MacLeod perfected his Trump impression for the latest series by studying recent interviews. “Listening to him on Joe Rogan was a gift for any mimic. It was uninterrupted; he wasn’t arguing,” he said. “He’s a little bit older, more reflective. There’s this messianic tone.”MacLeod has also started caricaturing Elon Musk, who is likely to play a role in Trump’s administration. “There’s something of a mad, maniacal robot about him,” MacLeod said. There’s the danger of creating satirical impressions that are too likable: “That’s the rub of satire and mimicry.”With Trump’s increased support this time, Zaltzman questions the power of comedy to change minds but said: “The best comedy has elements of creativity and optimism, offering alternative ideas, hopefully that will emerge.”Harouni said, from her experience with her Trump-voting family, there’s reason to feel hopeful: “Not everyone who voted for Trump holds his worst beliefs.” She hopes the political comedy of the next four years considers that. “I like comedy that unites people from different systems of belief,” she said. “I hope people strive for that rather than continue to feed into the divisive narrative that’s driving Americans further apart.” More

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      Sweat review – chilling vision of a divided, alienated America

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      Although principally set in 2000, Lynn Nottage’s Pulitzer-winning 2015 play anticipated Donald Trump’s presidency with its portrayal of a divided, frustrated and disfranchised community in the deindustrialising city of Reading, Pennsylvania. With Trump campaigning for a second term, the Royal Exchange’s revival is timely. Jade Lewis’s production ultimately presents a chilling vision of how job insecurity can destroy one’s sense of self and lead to the poisonous othering stoked by Trump.The stage design by Good Teeth studio has huge slabs suspended from the rafters, powerfully suggesting an industrial landscape hoisted away overnight. This in effect is what happens to the play’s steelworkers who, amid a dispute with management over pay cuts, are locked out of their plant, with their machines and jobs destined for Mexico as a result of the contentious North American Free Trade Agreement whose renegotiation was a Trump campaign pledge.This conflict is heightened by a familial dimension akin to Human Resources, the 1999 film by the late Laurent Cantet in which a management trainee is embroiled in job cuts that affect his father on the shop floor. Nottage’s play centres on African American Cynthia (Carla Henry) who works at the factory with her son Chris (Abdul Sessay) and has finally crossed the floor to become a supervisor only to encounter resentment, some of it racially fuelled, from her friends. Suspicious of her new colleagues (“I wonder if they gave me this job on purpose. Pin a target on me”), Cynthia is also alienated by her former neighbours at the machines.View image in fullscreenSimilarly targeted is Colombian American Oscar (Marcello Cruz) who works at the local bar and crosses the picket line to pick up factory shifts. He is labelled a traitor by workers whose union has long been a closed shop to him and the story, framed by the aftermath of a violent climax, has a lucid sense that blustering calls for solidarity usually conceal exceptions. Nottage gave the play an epigraph from Langston Hughes’ Let America Be America Again, in which the poet declares the country “never was America to me”.With its sparse, barely stocked bar-room design, Lewis’s production perfectly conveys the play’s desolation – embodied by Cynthia’s ex, the drug-addicted Brucie (Chris Jack), one of the bar’s regulars – but missing is the atmospheric, authentic sense of place that marked Lynette Linton’s blistering 2018 staging at the Donmar Warehouse. It’s not just in the occasionally wavering accents or oddly pristine costumes but in the bonds between the characters, which need to be more fully established for the play’s second half to detonate. While the cast convey the bodily toll of work, a visceral sense of physicality is missing in their confrontations. Further use of the revolve stage, which heightens some scenes, might have prevented the energy seeping from other exchanges.If it never finds the right rhythm, there are powerful performances, especially from Henry as the weary yet steadfast Cynthia, Pooky Quesnel as her rancorous friend Tracey and Cruz as the observant Oscar who captures the lived-in tone of Hughes’ poem, which evades Maga fantasy nostalgia in its call to simply “make America again”.
      At the Royal Exchange, Manchester, until 25 May More

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      Our Little Amal has travelled thousands of miles – but there is still far to go

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      We were theatre people gathered from the UK, the US, Palestine, South Africa, Syria, Taiwan, Eritrea, Italy and France. Our idea was for Amal, a 12ft puppet of a Syrian child, to travel along one of the routes across Turkey and Europe that refugees from Syria, Afghanistan, Iraq, Iran and many other countries follow as they flee war, violence and persecution. We imagined Amal as one of tens of thousands of unaccompanied minors and her journey as, simply, a search for her mother.In 70 towns and cities along her 5,000-mile route – Gaziantep to Manchester – we invited artists and arts organisations to welcome her. “A refugee child will arrive. She’ll be tired, hungry, frightened. How will you welcome her? With a dance? With a meal typical of your region? With an orchestral concert?”And we invited figures of “power” to welcome her – in a Turkish mountain village the mayor, in Rome the pope, in London the speaker of the House of Commons …Between July and November 2021, Amal travelled along the south Turkish coast, crossed to the island of Chios in Greece, walked through Italy, Germany, Switzerland, Belgium, France, sailed from Dunkirk to Dover all the while leading perhaps the biggest community art project ever staged, a rolling festival of art and hope. In Arabic Amal means “hope”.Through the genius of her creators, Handspring Puppet Company, the skill of her puppeteers and social media, she quickly became a global symbol of human rights. She met something like a million people on the street, tens of millions more online. Her education pack was downloaded from walkwithamal.org all over the world. In the welcoming crowds, we’d hear kids explain to their parents: “She was born in Aleppo, we learned about her in school …”Almost as soon as she set out, she received invitations to places – Stockholm, Adelaide, Seoul – not within the logic of her route but, once her first journey was complete, she was free. She could go anywhere. In 2022 at the invitation of the mayor of Lviv she visited Ukraine as well as shelters set up across the border in Poland to receive refugees from the war zone. She toured the UK, visiting Stonehenge and appearing alongside Elbow at Glastonbury. She led a group of mayors from many major cities through the streets of Amsterdam to the Anne Frank House.In New York she was welcomed by the Metropolitan Opera on her arrival at JFK airport and by artists and audiences at 50 sites across all five boroughs. Thousands of children holding bird puppets streamed behind her across Brooklyn Bridge. We saw all this, and visits early this year to Toronto and Trondheim, as preparation for her second very long journey.On 7 September she arrived in Boston harbour in a clipper. Later that day she was serenaded by students in Harvard Yard and at night was played to sleep among other homeless people by Yo Yo Ma. On 10 September members of the Nipmuc nation canoed across Lake Ashfield to sing to her in welcome. The mayor of Hartford, Connecticut was the first of many mayors to declare the day of her visit “Little Amal Day”. In Washington a brass band played as she strode down Pennsylvania Avenue to be welcomed to the Capitol by congressmen and women, then she paraded down Black Lives Matter Plaza.She went north to the “rustbelt” – Detroit, Dearborn, Flint. She gazed at the rush of cars thrusting down into the tunnel under the Detroit River that emerges in Canada, the first of three river borders on her 12-week, 60-city US/Mexico journey. In Memphis, Tennessee, she stood outside room 306 of the Lorraine Motel where Martin Luther King Jr was assassinated. In Birmingham, Alabama, she marched from the 16th Street Baptist Church hand in hand with a veteran of the 1960s civil rights “foot soldiers”, the crowd singing “Ain’t nobody gonna turn me around, turn me around …” On a glittering New Orleans night, accompanied by the Preservation Hall Jazz Band, she made her way through the revellers on Bourbon Street.From El Paso, Texas she crossed briefly into Mexico. Beneath the massive blood-red X-shaped tower that expresses Ciudad Juárez as a crossing point and a meeting place, she was cheered by young people in Mexican national dress and a Mariachi band. Later, standing on the south bank of the Rio Grande (the second river border of her journey), she came across a group of families with young children from Venezuela who, having waded through the chest-high water, were on US soil but blocked from going further by the barbed-wire crested 20-foot wall …Back in the US, she was welcomed by some of the hundreds, maybe thousands, young and old, who run organisations in villages and towns along the border to support migrants and refugees who have made it across. Tiffany runs a shelter where new arrivals can make a phone call, eat, shower and rest while a bus is summoned to ferry them to Tucson where they’ll hand themselves over to the authorities and apply to stay. Father Mike offers his church hall to new arrivals to pause and take stock of the new world they’re in. Outside on the street a youngster from Honduras is interviewed by a local journalist.“What does Amal mean to you?”“She gives me hope …”One late October day, west of Nogales, Arizona, the elderly chairman of the Tohono O’odham Nation guided Amal to the fence between his hereditary territory and Mexico. Overnight, perhaps 2,000 people had crossed and were gathered in a hard mud clearing under the blazing sun awaiting the arrival of police to “process” them. “We will never allow a wall to be built on this land which we cherish,” said the Chairman gazing up at Amal. “If they try, we will fight them, won’t we, my girl.”In the Inglewood neighbourhood of Los Angeles, she had a starring role in a vibrant Vegas-style dance of welcome choreographed by Debbie Allen, performed by hundreds of students. On the jam-packed Jerry Moss Plaza of the downtown Music Center bands played, soap bubbles glimmered in the night air as a jubilant crowd serenaded Amal.From San Diego, she crossed into Mexico through the turnstile on foot and was greeted by the governor of the state of Baja California and the mayor of Tijuana, both making speeches about how deeply they as mothers felt their responsibilities for the wellbeing of migrant children. On Tijuana Playa the metal border wall juts into the sea. As Amal strolled along the beach accompanied by well-wishers and a mariachi band, I thought: “But the wall doesn’t jut out that far, why don’t people swim round it?” The currents are too strong.Will the strong flow of migrants ever cease? No one sets out on these perilous journeys unless there’s no other way to escape war, organised crime, extreme poverty. In Mexico, as in Turkey, it seemed to us that, at the official level but also on the streets, there’s an understanding that “the problem” is not refugees and asylum seekers. The people are innocent. The problem is the situation. Deal with the political, social and economic crises or people will keep coming.In the Centro Comunitario San Bernabé in Monterrey she played soccer with teams of boisterous kids. In the Tonalá neighbourhood of Guadalajara something like 40,000 people crowded the streets. “Amal, Amal, Amal!” In Zapopan perhaps 20,000 yelled as she entered the Basilica of Our Lady, was sung to by priests and then escorted back out into the blazing sunshine by yet another mariachi band.In Mexico City she was formally welcomed by the presidents of the Senate and of the Congress. In Los Pinos Park the minister of culture brandished her cowboy hat and sang to her. “You are warriors,” she told us, “warriors for peace.” On the central square, the Zócalo, she was welcomed by the mayor and by a dance choreographed for her by Raúl Tamez. Tens of thousands marched behind her through the working-class district Iztapalapa brandishing signs “We love Amal, Ser Migrante es un acto de Valor”.Outside the church at Xochimilco, near the vast canal system built by the Aztecs on which Amal went for a twilight cruise, Unicef and UNHCR officials asked if she would keep heading south into Guatemala, San Salvador and Honduras: “This work you do is very important to us. You draw attention to the level of the crisis, to the needs of the children. No doubt about it, she should keep going.”At Mexico’s southernmost tip, Ciudad Hidalgo, the river border with Guatemala is a gently sloping bank strengthened by sandbags leading down to a row of wooden rafts. Armed police stand about but seem unengaged by the constant, apparently casual, flow of people punting to and fro in both directions. The Guatemalan quetzal is stronger than the Mexican peso so Guatemalans hop aboard the rafts and float across to do their shopping. But Amal has no need to shop. She climbs aboard a raft, lays her head on her hands, stretches out and floats gently along, at rest at last.As she travelled, Amal raised just shy of $1,000,000 (£800,000) which will be distributed to organisations that support refugees by our charity partner Choose Love. There are two further, briefer, Amal journeys planned for 2024.
      David Lan was artistic director of the Young Vic from 2000 to 2018. With Tracey Seaward he is producer of The Walk.
      This article was amended on 12 December. Philadelphia Avenue has been corrected to Pennsylvania Avenue; and the spelling of choreographer Raúl Tamez’s name has been corrected. More

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      Top Broadway star likens Ron DeSantis to Klan grand wizard

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      Prominent Broadway actor Denée Benton likened Florida’s rightwing governor Ron DeSantis to a Ku Klux Klan grand wizard at Sunday night’s Tony awards ceremony, drawing applause and roars of approval from the audience.Benton, known for her stage roles in Hamilton as well as Natasha, Pierre and the Great Comet of 1812, took aim at the Republican presidential hopeful and his policies attacking minority groups as she announced an award for theatrical excellence for a Florida high school teacher from the town of Plantation.She said: “While I am certain that the current grand wizard, I’m sorry, excuse me, governor of my home state will be changing the name of this following town immediately, we were honored to present this award to the truly incredible and life-changing Jason Zembuch-Young, enhancing the lives of students at South Plantation high school in Plantation, Florida.”There were gasps from some in the crowd, followed by laughter and lengthy applause.DeSantis has curtailed Black voters’ rights, restricted conversations of race and sexuality in Florida’s classrooms and workplaces, and rolled back protections for the LBGTQ+ community and other minority groups as he attempts to prove his extremist credentials to Republican voters in pursuit of his party’s presidential nomination.Benton’s comments also came the day after a group of DeSantis supporters was spotted waving Nazi flags and banners supporting the governor at the entrance to Disney World in Orlando.DeSantis is feuding with the theme park giant over his ’don’t say gay’ law banning discussion of sexual orientation and gender identity in schools, and he has not responded to calls from Democrats or civil rights groups to condemn either Saturday’s demonstration or previous gatherings of Nazi sympathizers in central Florida.He is also being sued for his “unauthorized alien transportation program” in which groups of South American asylum seekers have been moved around the country in planes chartered by the state of Florida and dumped in states and cities run by Democrats without prior notice.Critics have highlighted the parallels between the DeSantis program, which he sees as a protest to President Joe Biden’s immigration policies, and the reverse freedom rides from the civil rights era of six decades ago.Similar to the false promises of accommodation, jobs, clothing and food allegedly made to lure the DeSantis groups of migrants, white supremacist groups in the 1960s – including the Klan – bussed Black families out of southern states to the north with assurances that a better life awaited them.Benton’s comments on Sunday were broadcast live to the nation on a CBS telecast of the Tony awards from Manhattan. The 31-year-old actor was educated at Carnegie Mellon University, which partnered with the Tonys to honor Zembuch-Young for his work creating a diverse and inclusive theater at his school and in summer camps, including shows staged entirely in American sign language (ASL).“I didn’t start out with a mission of: let’s be as inclusive as we possibly can. I’ve always championed the underdog because I kind of relate to that,” Zembuch-Young told the Associated Press last month.“If there’s somebody that’s standing in front of you and they want to work, well, let’s put them to work and let’s figure out a way to have them be as successful as they possibly can.”DeSantis’s media office did not respond to Benton’s comments. But Never Back Down, a political action committee supporting the governor’s run for the White House, criticized her in a tweet.“Liberal ‘elites’ can’t stand how effective Ron DeSantis is at defeating their attempts to sexualize and indoctrinate your children,” it wrote, repeating previous messaging from DeSantis acolytes that opposition to his anti-trans policies equates to “grooming”. More

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      Harry Belafonte, singer, actor and tireless activist, dies aged 96

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      Harry Belafonte, the singer, actor and civil rights activist who broke down racial barriers, has died aged 96.As well as performing global hits such as Day-O (The Banana Boat Song), winning a Tony award for acting and appearing in numerous feature films, Belafonte spent his life fighting for a variety of causes. He bankrolled numerous 1960s initiatives to bring civil rights to Black Americans; campaigned against poverty, apartheid and Aids in Africa; and supported leftwing political figures such as Cuba’s Fidel Castro and Venezuela’s Hugo Chavez.The cause of death was congestive heart failure, his spokesman told the New York Times. Figures including the rapper Ice Cube and Mia Farrow paid tribute to Belafonte. The US news anchor Christiane Amanpour tweeted that he “inspired generations around the whole world in the struggle for non-violent resistance justice and change. We need his example now more than ever.”Bernice King, daughter of Dr Martin Luther King, shared a picture of Belafonte at her father’s funeral and said that he “showed up for my family in very compassionate ways. In fact, he paid for the babysitter for me and my siblings.” The Beninese-French musician Angélique Kidjo called Belafonte “the brightest star in every sense of that word. Your passion, love, knowledge and respect for Africa was unlimited.”Belafonte was born in 1927 in working-class Harlem, New York, and spent eight years of his childhood in his impoverished parents’ native Jamaica. He returned to New York for high school but struggled with dyslexia and dropped out in his early teens. He took odd jobs working in markets and the city’s garment district, and then signed up to the US navy aged 17 in March 1944, working as a munitions loader at a base in New Jersey.After the war ended, he worked as a janitor’s assistant, but aspired to become an actor after watching plays at New York’s American Negro Theatre (along with fellow aspiring actor Sidney Poitier). He took acting classes – where his classmates included Marlon Brando and Walter Matthau – paid for by singing folk, pop and jazz numbers at New York club gigs, where he was backed by groups whose members included Miles Davis and Charlie Parker.He released his debut album in 1954, a collection of traditional folk songs. His second album, Belafonte, was the first No 1 in the new US Billboard album chart in March 1956, but its success was outdone by his third album the following year, Calypso, featuring songs from his Jamaican heritage. It brought the feelgood calypso style to many Americans for the first time, and became the first album to sell more than a million copies in the US.The lead track was Day-O (The Banana Boat Song), a signature song for Belafonte – it spent 18 weeks in the UK singles chart, including three weeks at No 2. His version of Mary’s Boy Child was a UK chart-topper later that year, while Island in the Sun reached No 3. He released 30 studio albums, plus collaborative albums with Nana Mouskouri, Lena Horne and Miriam Makeba. The latter release won him one of his two Grammy awards; he was later awarded a lifetime achievement Grammy and the Academy’s president’s merit award.Bob Dylan’s first recording – playing harmonica – was on Belafonte’s 1962 album, Midnight Special. The previous year, Belafonte had been hired by Frank Sinatra to perform at John F Kennedy’s presidential inauguration.Belafonte maintained an acting career alongside music, winning a Tony award in 1954 for his appearance in the musical revue show, John Murray Anderson’s Almanac, and appearing in several films, most notably as one of the leads in Island in the Sun, along with James Mason, Joan Fontaine and Joan Collins, with whom he had an affair. He was twice paired with Dorothy Dandridge, in Carmen Jones and Bright Road, but he turned down a third film, an adaptation of Porgy and Bess, which he found “racially demeaning”.He later said the decision “helped fuel the rebel spirit” that was brewing in him, a spirit he parlayed into a lifetime of activism, using his newfound wealth to fund various initiatives. He was mentored by Martin Luther King Jr and Paul Robeson, and bailed King out of a Birmingham, Alabama, jail in 1963 as well as co-organising the march on Washington that culminated in King’s “I have a dream” speech. He also funded the Freedom Riders and SNCC, activists fighting unlawful segregation in the American south, and worked on voter registration drives.He later focused on a series of African initiatives. He organised the all-star charity record We Are the World, raising more than $63m for famine relief, and his 1988 album, Paradise in Gazankulu, protested against apartheid in South Africa. He was appointed a Unicef goodwill ambassador in 1987, and later campaigned to eradicate Aids from Africa.After recovering from prostate cancer in 1996, he advocated for awareness of the disease. He was a fierce proponent of leftwing politics, criticising hawkish US foreign policy, campaigning against nuclear armament, and meeting with both Castro and Chavez. At the meeting with Chavez, in 2006, he described US president George W Bush as “the greatest terrorist in the world”. He also characterised Bush’s Black secretaries of state Colin Powell and Condoleezza Rice as being like slaves who worked in their master’s house rather than in the fields, criticisms that Powell and Rice rejected.He was a frequent critic of Democrats, particularly Barack Obama, over issues including Guantanamo Bay detentions and the fight against rightwing extremism. He criticised Jay-Z and Beyoncé in 2012 for having “turned their back on social responsibility … Give me Bruce Springsteen, and now you’re talking. I really think he is Black.” Jay-Z responded: “You’re this civil rights activist and you just bigged up the white guy against me in the white media … that was just the wrong way to go about it.”He continued to take occasional acting roles. In 2018, he appeared in the Spike Lee movie BlacKkKlansman. In 2014, 12 Years a Slave director Steve McQueen announced he was working with Belafonte on a film about Paul Robeson, though it wasn’t developed.Belafonte was married three times, first to Marguerite Byrd, from 1948 to 1957, with whom he had two daughters, activist Adrienne and actor Shari. He had two further children with his second wife, Julie Robinson: actor Gina and music producer David. He and Robinson divorced after 47 years, and in 2008 he married Pamela Frank, who survives him. More

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      Baldwin v Buckley: how the ‘debate play’ made a riveting resurgence

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      James Graham’s play Best of Enemies recently brought to life the gladiatorial televised clashes between Gore Vidal and William F Buckley Jr in the lead-up to the 1968 US presidential election. Tucked inside that drama was a fleeting mention of the historic debate between the white, conservative Buckley and the Black American civil rights activist James Baldwin. It felt, potentially, like it could make a play in its own right.A new production stages just that momentous confrontation in verbatim form. Debate: Baldwin v Buckley re-enacts in full the Cambridge University Union head-to-head from February 1965, when it was recorded and broadcast by the BBC.First re-created on screen during the lockdown of 2020, it has since been staged off-Broadway and now makes its UK premiere at Stone Nest in London’s West End. Adapted and directed by Christopher McElroen, it features Teagle F Bougere as Baldwin and Eric T Miller as Buckley.Baldwin and Buckley have half an hour a piece to make their case for or against the motion of the debate: “The American Dream is at the Expense of the American Negro.” We follow their logic without interruption in the debating chamber, Baldwin arguing for civil rights and for America to acknowledge the sins of its past, while Buckley makes the case for white conservative values.McElroen says the decision to stage the debate this way came after the murder of George Floyd, in the midst of the Black Lives Matter protests. “It addressed the racial conflict that the country was navigating yet again.”Political theatre has a long and fine British tradition, from Shakespeare’s history plays to David Hare’s work and Graham’s own oeuvre – which includes This House and The Vote. But the “debate play” is something apart; drawing on the ancient Athenian art of rhetoric and persuasion, it speaks to us directly of issues in our world. It is, by comparison, a rarity these days but we see it in such highly compelling instances as Aaron Sorkin’s adaptation of To Kill a Mockingbird, whose courtroom debate was arguably its strongest feature. There is also David Mamet’s recently revived and volcanic two-hander, Oleanna, which is not formally constructed as a debate but presents two oppositional viewpoints on political correctness in university campuses with immense force, and allows us to view its subject from both sides.An even more current example is the New Diorama’s musical, After the Act, which features parliamentary debate around Section 28 (which legislated against teaching homosexuality in British schools) and manages to bring satirical comedy to the debate form.In the case of McElroen’s production, nothing extraneous is added to the words exchanged between Baldwin and Buckley. Unlike Best of Enemies, which couches the infamous debates within greater fictive material, this is a pure reconstruction of the original. “To frame the debate within a bigger story would be like killing a fly with a sledgehammer,” says McElroen. “The material is James Baldwin and William F Buckley Jr – two amazing intellectuals on opposite sides of the political spectrum. The conflict is inherent in that, you don’t need to do anything to it.”The setting is modern, apart from an old TV that replays some of the original footage, and there is no use of theatrical lighting or sound. Yet it is utterly captivating. The fierce eloquence and intellectual rigour of Baldwin and Buckley’s arguments have not lost any of their power. There is an argument to suggest that the most powerful part of Best of Enemies is Vidal and Buckley’s debates themselves, which offer a ferocious sense of spectacle – and that the fiction is secondary.The fact that Buckley airs such critical, even offensive, views on the civil rights movement and effectively mobilises a defence of white supremacy, brings its own questions. Would this debate ever be sanctioned now at a university union, in our era of de-platforming – and should it be?Yes, says McElroen, because the divided politics are still there. After every show there is a live discussion with the audience, and in some venues the after-show conversations are proof of how some have moved on from this debate around race while others remained entrenched. The first venue in which Baldwin v Buckley played live was the Women’s National Republican Club in New York. “They identified strongly with Buckley’s arguments,” says McElroen, “and they identified the Black Lives Matter movement to be a radical group not dissimilar from the way Buckley viewed the civil rights movement.”The other issue it raises is whether we have lost the art of civilised debate – and more specifically, if the demand for “total” agreement is eroding the space and permission for true debate and disagreement. If this debate were taking place today, McElroen thinks, Buckley would have stopped Baldwin by his third or fourth word and the discussion would have descended into chaos.If a more recent political debate were given similar verbatim treatment in dramatic form – such as the televised Trump and Biden presidential face-offs – it might be highly entertaining to watch for the heated interruptions and put-downs. But contemporary political debates rarely allow the opponent the time and breadth to make their argument, uninterrupted, in the way that Baldwin and Buckley did.There is a strain, in debate drama, that it is striving to be more than just theatre, and that it is ultimately trying to galvanise the audience towards a change of heart or mind outside the auditorium through its act of persuasion.McElroen is staging his play across the US – from Tennessee to southern California – in the lead-up to the next presidential elections, travelling out of the “liberal bubble” and into Republican heartlands. “To the extent that a piece of theatre can affect change, we hope to use this to spark dialogue. What we try and do at the end of the performance is to focus on civility, and on what actually unites us as opposed to the things that divide us,” he says.“The odd thing about the debate between Baldwin and Buckley is that they find consensus in their arguments about the value of America and the American way of life. We need to do better collectively to hear what the other side is saying. If we do that, we’ll be surprised at how much consensus exists.”
      At Stone Nest, London, until 8 April. More

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      Can theatre predict 2024’s US election? Politics Weekly America

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      Playwright Mike Bartlett prophesies a Donald Trump v Kamala Harris showdown against a backdrop of rolling violence

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      Mike Bartlett’s new stage work, The 47th, explores a Donald Trump v Kamala Harris contest in 2024, set against a backdrop of rolling violence. Jonathan Freedland asks why artists and writers are drawn to American politics again and again, and what theatre can reveal about the protagonists that news coverage can’t Listen to this week’s episode of Politics Weekly UK with John Harris Send your questions and feedback to podcasts@theguardian.com Help support the Guardian by going to gu.com/supportpodcasts

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      Much ado about Doug: second gentleman takes spotlight at Shakespeare debate

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      Much ado about Doug: second gentleman takes spotlight at Shakespeare debate Doug Emhoff, Kamala Harris’s husband, argues in a mock trial hosted by the Shakespeare Theatre Company and presided over by Stephen Breyer“I haven’t been in court for a few years, so excuse me if I’m a bit rusty,” said Doug Emhoff. “You know, not too much has changed in my life – except for the Secret Service, Air Force Two, the selfies, the cameras following me everywhere, and oh: my wife is the vice-president of the United States.”Mood as light as spring air as Ketanji Brown Jackson delivers words to rememberRead moreThe theatre erupted in whoops and clapping. Kamala Harris, sitting in the fifth row with her sister Maya, blew kisses through a black face mask and applauded her husband.It was one of those only-in-Washington moments. On Monday, the Shakespeare Theatre Company hosted a “mock trial” inspired by William Shakespeare’s romantic comedy Much Ado About Nothing and presided over by retiring supreme court justice and good sport Stephen Breyer.Much Ado is best known for Beatrice and Benedick, two proud intellects who only fall in love after others play Cupid. That seemed fitting for Harris and Emhoff, who were set up on a blind date by a mutual friend and married just shy of their 50th birthdays.But the question before the not-so-serious court was: should Margaret be held liable for Don John’s defamation of Hero? Emhoff, who was a prominent entertainment lawyer for nearly 30 years, was lead advocate on Margaret’s behalf.The event, full of inside-the-Beltway topical gags, had been due to take place last month but was postponed after the second gentleman came down with coronavirus.“I thank your honours for granting my motion for a continuance due to plague,” began Emhoff, wearing a dark suit, blue shirt and blue tie, and standing at a lectern under bright stage lights. “The White House apothecary told me my symptoms would be wild but – whew!”The mock trial is a longstanding Shakespeare Theatre Company tradition but had gone virtual for the past couple of years, due to the pandemic. Monday marked a return to an in-person audience at the Sidney Harman Hall but it was also livestreamed.Emhoff, an amiable and slightly goofy presence, remarked: “My parents tonight are watching the livestream but I might have told them that I was arguing in front of the United States supreme court so, cameraperson, can you just keep a very tight shot … ?”The second gentleman faced quick-fire questioning from Breyer and four leading judges from the District of Columbia and Virginia.“How do you define woman?” asked one, a nod to the recent esoteric questioning of the supreme court nominee Ketanji Brown Jackson by Republican senators.Tongue firmly in cheek, Judge Amy Berman Jackson said she was interested in Beatrice and Benedick.“He says he doesn’t want to marry anyone but I think it’s clear from the text that his real concern is that if he marries somebody who’s really pretty and is really smart and witty, she could turn out to be the one who is better known and more prominent than he is.”There was laughter from the audience. There was more when Emhoff responded dryly: “As I say, your honour, I used to be somebody.”The judges – relishing a chance to let their hair down – also made references to Will Smith’s slap of Chris Rock at the Oscars, Britney Spears’s conservatorship, Downton Abbey, Republicans Madison Cawthorn and Marjorie Taylor Greene, and Jennifer Lopez and Ben Affleck.Emhoff was careful not get too political. One judge asked: “So when Beatrice tore up her love letters, making them unavailable to investigators, was that a violation of the imperial records act? If so, is Merrick Garland going to get around to that?”The second gentleman demurred: “There’s certain things I’m not allowed to talk about.”Simon Godwin: how the British director is taking on US theatreRead moreBut he did take a deft swipe at Donald Trump’s oldest son, during his defence of Margaret.“She was just an unwitting pawn in the scheme of the real villain here, the self-described villain: Don Jr – I mean, Don John.”The case against Margaret was put by Debra Katz, a DC litigator and founding partner of Katz, Marshall & Banks. The judges and the theatre audience ruled in her favour, whereas the audience watching via livestream sided with Emhoff.Harris then took to the stage, gave Emhoff a hug, posed for photos and and spoke with those assembled including Britain’s Simon Godwin, artistic director of the Shakespeare Theatre Company.Someone managed to get a selfie with Emhoff before the Secret Service trod the boards and encouraged Harris to exit, stage right.TopicsUS politicsThe US politics sketchKamala HarrisDemocratsWilliam ShakespeareTheatrenewsReuse this content More

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      ‘I keep hope alive’: Tamara Tunie on playing Kamala Harris in political dystopia The 47th

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      Interview‘I keep hope alive’: Tamara Tunie on playing Kamala Harris in political dystopia The 47thArifa Akbar The Law & Order: SVU star is returning to the stage in a White House satire set in 2024. She talks about the ‘black-lash’ after Obama’s election, brokering a new deal for Broadway diversity – and her role as Whitney Houston’s mumTamara Tunie is limbering up to play the vice-president of America in Mike Bartlett’s new political satire, The 47th. “I have great admiration for what she’s achieved,” says Tunie, in a back office at the Old Vic in London, emanating a big, easygoing exuberance that seems Californian in spirit, although she is a New Yorker. So how is she preparing for the role of Kamala Harris: observing her public persona to mimic her convincingly?“No, I don’t try to impersonate – I find that could get in the way,” says Tunie, who appears utterly at ease with the part. Perhaps that’s because she is no stranger to playing true-life characters – including Whitney Houston’s mother, Cissy, in the upcoming biopic I Wanna Dance With Somebody. “I go to good old YouTube to see what interviews I can find,” she says of her research. “But what I look for more is the essence of the person: there might be one or two things that are significantly them – a quirk, something that they do. What I try to do is land on that but then allow myself the freedom to go: ‘What if they were in this situation?’”Bartlett’s drama finds Harris in 2024 in a world still dominated by the Trump family. It is a funny, horrifying political dystopia, much of it written in iambic pentameter with sly Shakespearean references tucked in. The reality of living through the Trump administration was sobering for Tunie. “This undercurrent of racism and misogyny was always there. What Trump allowed was the Pandora’s Box to be flung open … We must remain vigilant, and we must constantly fight, and we can never just relax and think ‘OK, everything is taken care of.’”Does she think America began relaxing during the Obama years? “Absolutely. The point when President Obama was elected was when the term ‘post-racial’ was coined. That was, unfortunately, a fantasy that everything was all fixed, because now we had a black president. What we are seeing – and one of the reasons I believe that Trump was elected – was that there was a backlash. In my circle we called it ‘black-lash’.”Tunie was born and raised in Pittsburgh, one of six siblings whose parents ran a funeral home. Her mother was also the first black female security guard at United States Steel and had a strong activist streak: “She believed that if there was something that needs to be addressed, you don’t wait for somebody else to do it.” Her father had a second job as an airport porter. Tunie was an all-rounder at school who loved singing and dancing but was fiercely academic, with ambitions to become a medic (she has played a medical examiner for more than 20 years in the TV drama Law & Order: Special Victims Unit).What made her swerve into the performing arts was a single, thrilling moment, in the choir of a spring concert at high school. “I had a solo number and I got a standing ovation. It occurred to me that ‘This makes people really happy, it is something I love to do, and I can touch people with it.’”She won admission to the prestigious drama school at Carnegie Mellon University and made her Broadway debut in 1981. Feeling potentially pigeonholed as a musical performer, she stopped singing and dancing for a while. “I was classically trained. I wanted to do Shakespeare, I wanted to do straight plays, film and television. So for a good eight years or so I didn’t sing at all.”What was it like to return to singing for her part as Cissy Houston, one among a family of women with phenomenal voices, filmed last year? “Utterly intimidating. A lot of people don’t know that I sing, but the music that inspires me is in the jazz vein. Cissy Houston is more an amazing singer of gospel and R&B.” Tunie re-trained her vocals to “find” the character with the help of a musical team which included Rickey Minor, Whitney’s musical director.The 47th is the first live show Tunie has done since the beginning of the pandemic but she used the shutdown to build a campaign for better inclusivity within the theatre community. As part of Black Theatre United, the organisation which Tunie co-founded with fellow black professionals, a “New Deal for Broadway” was secured last year, which established industry-wide standards for equality, diversity, inclusion and accessibility. “This was a product of six months of meetings with the leaders in the industry: theatre owners, producers, creatives, casting directors. It is not a legal document but an agreement that is saying we as a community are going to address the exclusions of black people and make the industry much more inclusive.”Has she seen change more generally across screen and stage in recent years? Yes, but it has come very slowly and with a lot of pain. And even then it could flip back, she says, returning to her point about remaining vigilant. “But what I see in Hollywood are black individuals who have their own production companies, and black people making their own content, with Hollywood calling on them. There is Shonda Rhimes and the incredible dynasty she has built … I see that here, too [in the UK] – I worked with Michaela Coel in Black Earth Rising and she is very much the example of what I’m talking about.”On the subject of trailblazing women, has she ever met Harris? “I was on a Zoom with some other black women [during the presidential campaign] and she chatted with us, sharing some of her thoughts and policies for the future of the country. I found her utterly engaging.” So Harris for president? “As Jesse Jackson would say, ‘I keep hope alive.’ [To be vice-president] is a monumental accomplishment and I feel like it’s another rung in the ladder towards equality and space for not just a woman but a woman of colour to be the president of the United States. That would be the best thing for the country.”
      The 47th is at the Old Vic, London, from 29 March to 28 May.
      TopicsTheatreMike BartlettOld Vic TheatreKamala HarrisUS politicsTelevisionWhitney HoustoninterviewsReuse this content More