A remarkable period in British social history is vividly captured by a sharp and evocative production.
Almost a hundred years have passed since the General Strike of 1926. There are few if any living memories of nine historic days in May. It might be confined to the history books and flickering sepia images. Yet in 2023 we are confronted by events with an eerie similarity, multiple strikes by doctors, nurses, teachers and railway workers, the government clashing with the BBC as a debate rages about press freedom. The parallels are uncanny and evidence that history does indeed repeat itself, at least after a fashion. This new play by Jack Thorne delves into machinations bubbling under the surface of Britain’s most industrial dispute.
The strike began in support of mine workers who were confronted with reduced pay and longer working hours. It was sympathy action on a wide scale that paralysed the railways, transport, docks, steel production and crucially the print industry. Without newspapers in circulation the fledgling BBC had an opportunity to fill the void. John Reith (Stephen Campbell Moore), managing director at the Beeb was previously restricted by the terms of its licence. They could only broadcast news at 7pm thus ensuring no damage was done to morning newspaper sales.
But Reith was now able to broadcast news bulletins throughout the day and take control of public information. This puts him on a collision course with the Government led by PM Stanley Baldwin (Haydn Gwynne). Chancellor of the Exchequer Winston Churchill (Adrian Scarborough) is in bullish mood and aims to smash the influence of communism in the labour movement. He establishes the British Gazette in competition. Reith is desperate to preserve the Beeb’s independence with its Royal Charter pending. The battle lines are duly drawn as they fought for the hearts and minds of the people.
The dark and intimate confines of the Donmar provide an ideal canvas for a narrative that clearly documents the event. The backdrop is comprised of small platforms that act as a spotlight for individual characters. It also creates space for the cast to produce sound effects just as they would have done for early radio shows on the Beeb. A single cello and muted trumpet add a sparse and haunting musical accompaniment.
The play draws on the finest Reithian principles of public service broadcasting – to entertain, educate and inform. It delivers all three in spades with a useful reminder of Winston Churchill’s chequered political career. Winnie’s achievements as wartime PM often squeeze out his domestic failures – his stint as Chancellor proved how hopelessly lost he was on the home front. There is however an annoying fixation on Reith’s sexuality. It has no bearing on the story and disrupts the overriding theme of the piece as an historical document. But it remains superior entertainment and a fine night out.
Writer: Jack Thorne
Director: Katy Rudd
Review by: Brian Penn
Playhouse Pickings 