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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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      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

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      Best of Enemies review – James Graham’s superb study of media and politics

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      Best of Enemies review – James Graham’s superb study of media and politicsYoung Vic, LondonDavid Harewood and Charles Edwards go head-to-head as William F Buckley Jr and Gore Vidal respectively in an enthralling play based on a 1968 TV debate James Graham specialises in pivotal political moments. This House recreated the parliamentary divisions leading to the Thatcher premiership in 1979, and Ink previewed the electoral significance of Rupert Murdoch’s 1969 takeover of the Sun newspaper.Best of Enemies examines another end-of-decade cusp: the TV debates on the ABC network during the 1968 US presidential nominating conventions, between mutually detesting American essayists: on the New Right, William F Buckley Jr and, on the New Left, Gore Vidal.In a play inspired by Morgan Neville and Robert Morgan’s 2015 documentary about the encounters, Graham suggests that these ideological antler-locking head-to-heads were influential on multiple levels – popularising bitter, unbridgeable gulfs between conservative and liberal America that still endure; making TV, rather than legislatures, the national debating chamber; and, through ABC’s Buckley-Vidal ratings triumph, creating a US peak-time triopoly – with NBC and CBS – lasting until the protagonist of Ink launched Fox News.At one very enjoyable level, Best of Enemies is – in the line of earlier Graham work and Peter Morgan’s Frost/Nixon – historical karaoke, recreating verbatim choice ideas and insults from the studio duels. The roar of complex thoughts and challenges to orthodoxy is so enthralling that it makes Radio 4’s Today programme sound like CBeebies.But Graham and director Jeremy Herrin (with characteristic pace and clarity) crucially give this media archaeology a contemporary framing. The most striking modernity is casting. Charles Edwards’ Vidal delivers a near-perfect soundalike and acceptable lookalike, while Buckley, who can be seen as the epitome of a privileged white right-winger, is portrayed by the black British actor David Harewood. He exactly captures every aspect – drawl, lolling posture, facial tics – of the Republican’s awkward broadcasting persona, except for one element in the room.As a means of equalising opportunity for actors, there is no reasonable argument against racially fluid casting. But in plays that aim elsewhere for photo-realism – the show’s Andy Warhol, Aretha Franklin and Bobby Kennedy reliably match the archives – audiences are asked to make an adjustment in how they visually read a production. When Buckley and the novelist James Baldwin are on stage together, white racism and African-American pride are simultaneously being represented by actors of colour.Apart from Harewood’s electrifying stage presence, a justification for this pictorial revisionism is that Buckley did experience a form of prejudice and institutional isolation; in a Republican party of entitled white Protestants, he was Roman Catholic. Vidal throws one jibe about the Vatican, but Graham might have made more of how the Democrat’s haughty disdain for his rival came from viewing him as a social and religious inferior and establishment interloper. Each man was, by the standards of the time, in the “wrong” party for his background: a political trend that has continued.As has another. A time-jumping epilogue suggests that the 1968 debates may have made televisual visibility such an asset to candidates that it led to hosts of Have I Got News for You? and the US version of The Apprentice running major democracies.Parts of the second half, set at the Democrat convention in Chicago, may seem over-familiar to viewers of Aaron Sorkin’s film The Trial of the Chicago 7, but Graham proves that he stands with Sorkin as our best dramatic interpreters of the interplay of media and politics.TopicsTheatreYoung VicJames GrahamDavid HarewoodGore VidalUS politicsreviewsReuse this content More

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      To be Trump, or not: what Shakespeare tells us about the last five years

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      The time is out of joint. When lost for words, as many have been over the past five years, William Shakespeare is a useful go-to guy. His plays have helped us make sense of plague, political upheaval and a mad monarch, delivering soliloquies by tweet.
      “While maintaining his career as the most-produced playwright in the world, he is also moonlighting as the most-cited provider of metaphors for the Trump era – and particularly its denouement,” Jesse Green, the chief theater critic of the New York Times, observed last month. “Hardly a thumb-sucking political analysis goes by without allusion to one of the 37 canonical plays, however limited or far-fetched the comparison may be.”
      But as the dust settles on the Trump presidency, Green’s exhortation – brush down your Shakespeare, stop quoting him now – seems unlikely to gain much traction.
      Books have been written. Jeffrey Wilson, a Harvard academic, is the author of Shakespeare and Trump, published last year. The book’s cover features its title emblazoned on a red cap, in lieu of the words “Make America great again”, beneath a pair of donkey’s ears.
      “The thesis of the book is tragedy but we’ve got a little bit of comedy in there too,” Wilson says. “So the cover alludes to Shakespeare’s character Bottom, who’s this kind of huckster blowhard who gets his head turned into a donkey to symbolise the stupidity. Plus, Bottom’s just obsessed with building a wall in A Midsummer Night’s Dream.”
      Which other characters parallel Trump? “There’s going to be Julius Caesar, who thinks he’s a god over people, not one of them. There’s going to be Richard III, this power-hungry criminal whose clownishness seduces supporters. There’s going to be Macbeth, whose thirst for power is wrapped up in his fragile masculinity.
      Book embed
      “There’s going to be Henry VI, this child king whose weak leadership creates this fractious counsellor infighting all around him. There’s going to be Angelo in Measure for Measure, a self-declared law-and-order guy who is himself a criminal. And there’s going to be King Lear, who so completely binds the personal and the political that the collapse of his government is also the collapse of his family.”
      When the pandemic finally ends and theatres spring back to life, that list will offer rich pickings to directors. There is a long tradition of holding up the mirror of Shakespeare to specific cultures, from Akira Kurosawa’s Throne Of Blood, The Bad Sleep Well and Ran to irreverent productions in South Africa that critiqued apartheid.
      Some are subtle, others on-the-nose. In 2017, the director Oskar Eustis’s production of Julius Caesar in New York’s Central Park depicted the eponymous character with blond hair and red tie. It all caused a brouhaha in conservative media: corporate sponsors pulled support, protesters stormed the stage and Eustis received death threats.
      Wilson reflects: “When I asked [Eustis], he insisted he wanted it to be a very blunt instrument. The fascinating thing for me about that production is that it may or may not have helped us better understand Donald Trump but it helped me better understand Julius Caesar as a text.
      “It allowed us to use Trump as a lens for understanding the way that Shakespeare wrote this play, which is so filled with comedy in the first half, the kind of outrageous, obnoxious, satirical comedy that is so associated with Trump. That’s how Shakespeare’s Julius Caesar should be performed.”
      The play, he says, “is drawing upon tropes of the 17th-century clown, the antichrist who comically comes on stage and thinks that he’s the most glorious thing ever invented and is revealed to be a total fraud.
      “You don’t really get that sense of Julius Caesar when you watch most Shakespearean stagings of the play but by using Trump as a lens to understand that, we can use the accessible emotions and knowledge that we have from current events to rethink how we should read this distant, old, obscure literature.”
      Wilson’s book also considers how America has seen Shakespeare in the age of Trump. A month after his victory in 2016, for example, students at the University of Pennsylvania took down a portrait of Shakespeare and replaced it with a photo of Audre Lorde, an African American writer, feminist and civil rights activist.
      Steve Bannon, who led Trump’s winning campaign and became a White House strategist, was previously a banker, media executive and Hollywood producer who in the 1990s co-wrote two Shakespearean adaptations: a Titus Andronicus set in space, complete with ectoplasmic sex, and a hip-hop Coriolanus, based in South-Central LA.
      The screenplays are not publicly available but Wilson tracked them down – and found an insidious racism. He writes: “Specifically, Bannon’s Coriolanus suggests that African Americans will kill themselves off through Black-on-Black crime, while his Andronicus tells the story of a ‘noble race’ eliminating its cultural enemies on the way to securing political power.”
      Wilson adds: “NowThis did a table read of Coriolanus and actors were just sprinting to get through the lines. One of them said, ‘It sounds like he’s never met a Black person in his life.’” More

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      Just the Job: Bill Murray biblical reading seeks to bridge US partisan divide

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      Against the backdrop of a pandemic and an acrimonious election, a group of acclaimed actors were on Sunday set to stage an online reading of an appropriate religious text: the Book of Job.Groundhog Day star Bill Murray was cast as Job, the righteous man tested by the loss of his health, home and children.Staged on Zoom, the reading was aimed at Knox county, a Republican-leaning area of Ohio, and designed to spark conversation across spiritual and political divides. The structure of a reading followed by dialogue is a fixture of Theater of War Productions, whose artistic director, Bryan Doerries, went to Kenyon College in Knox county.Theater of War held its first Job reading in Joplin, Missouri, a year after a tornado killed more than 160 there in 2011. The company has performed more than 1,700 readings worldwide, harnessing Greek drama and other resonant texts.By using Job’s story “as a vocabulary for a conversation, the hope is that we can actually engender connection, healing,” Doerries said. “People can hear each other’s truths even if they don’t agree with them.”The cast headlined by Murray featured other noted actors including Frankie Faison and David Strathairn. But Matthew Starr, mayor of the Knox county town of Mount Vernon, was cast as Job’s accuser. The Republican, a supporter of Donald Trump, said he hoped the event could lead to less shouting and more listening.“God does not say that bad things aren’t going to happen but he does tell us, when they do, we’re not alone,” Starr said. “That’s the hope for me, is that we get a chance to lean into our faith, we get a chance to lean into our neighbors, we get a chance to lean into each other, our family, a little bit more.”Knox county, a community of about 62,000, lies about an hour east of the Ohio state capital, Columbus. Most in the county work blue-collar manufacturing jobs. The county is 97% white and voted for Trump by nearly three to one. An exception is Kenyon College, a small liberal arts school outside Mount Vernon. Voters there and in the village of Gambier voted eight to one for Joe Biden.Marc Bragin, Jewish chaplain at Kenyon, said he hoped the reading would help people look beyond their differences. Pastor LJ Harry said he did not believe Knox county is as divided as other places in the US. The police chaplain and pastor at the Apostolic Church of Christ in Mount Vernon said most in the area were united in their support for Trump and for law enforcement.Harry said the biggest point of contention was over mask-wearing, with many resisting Republican governor Mike DeWine’s statewide mandate. He also likened Knox county’s need for healing to that of a patient who has left intensive care but remains in a step-down unit.Harry said the message he hoped people took from the Job reading was that “God has this in control, even though it feels like it’s out of control”.In the biblical tale, God uses Job’s losses to share broader truths about suffering. The story ends with the restoration of what was taken, and more.“Our hope is not that there’s going to be a group hug at the end of the thing,” Doerries said, “or that we’re going to resolve all our political differences, but that we can remind people of our basic humanity: what it requires to live up to basic values such as treating our neighbor as ourselves.” More