★★★

“an intriguing concept and one that will probably divide audiences, and lead to some interesting discussions”

It’s a tall order to expect an audience, while listening to a show’s musical number, to appreciate that certain lyrics are anagrams of the following line. Or that certain letters within those lyrics, if traced onto a sheet of paper, form a picture. The programme does devote a few pages of instructions for this lexical trickery, and often the words are projected high onto the back wall, but rather than being drawn into this distraction, the overall tendency is to just let it go over our heads. Nevertheless, at least we now know what an acrostic, or a lipogram is (google it).

The title suggests that all is not what it seems, and indeed there is an exaggerated surreal quality to Henry Parkman Biggs’ “Trompe L’oeil”. And like the artists it professes to emulate (Dali, Magritte, Escher…) there is more to see the longer you look. But rather than being given the freedom to make our own interpretations of the abstract mayhem, the message is very clear and one sided. We know where Biggs’ sympathies lie, even if we are never sure what story he is trying to tell.

There are many strands to the show – two that predominate. We have the rise and fall of Donald Trump, interwoven with what the poster tagline describes as ‘a queer love story’. The two are connected but in the same way that bedding plants and weeds might smother each other if left unattended. At the top of the show, Trump makes a deal with Vladimir Putin, after which Putin quite literally has Trump by the balls. Putin orchestrates Trump’s rise to power but only on the condition he can attach a remote-controlled clamp to his genitals which he tightens every time Trump strays away from his master plan. Both characters are larger than life and Sarah Louise Hughes’ Bond villain Putin (referred to as ‘The Imitator’) spars well with Emer Dineen’s cartoon buffoon Trump. Meanwhile two lovebirds Rip (a Republican in denial, played by Alex Wadham) and staunch Democrat Demi (Dominic Booth) eke out a ‘will-they-won’t-they’ scenario, complicated by the fact that Rip is implausibly unaware of Demi’s true gender.

“The ambition has to be admired, and the pace is frenetic, anarchic and chaotic”

Less a musical, more of a song cycle, the musical numbers intermix its influences, from cabaret to rap, to disposable pop. Delivered with high energy and soaring skill by the talented, fine-voiced ensemble they are catchy and instantly familiar. Although there is a tenuous thread connecting them, each number could be a stand-alone work in itself; although in a live setting we haven’t the time or inclination to analyse and pore over the intricacies. Like the overall concept, it is all just too clever for its own good and a touch self-indulgent.

The ambition has to be admired, and the pace is frenetic, anarchic and chaotic. The cast rise to the physical and vocal challenges with ease. It is larger than life, and totally bonkers. Yet despite the high entertainment value we are left with little to grip on to. The wider appeal is therefore constricted, which is a shame as there are some gems of observation, humour and satire to be found. But it is difficult to establish what this piece is trying to achieve. And it is a bit of a contradiction: it is bold, brash and funny but at the same time requires prior knowledge of the author’s writing technique. In some ways it appears progressive, yet it closes with the rather simplistic message that “we can disagree peacefully”.

The allusions to illusion in “Trompe L’oeil” are misleading – the show doesn’t quite match its title. But it is an intriguing concept and one that will probably divide audiences, and lead to some interesting discussions. Let’s hope they can ‘disagree peacefully’.

DOM – THE PLAY at The Other Palace

★★★★

“a delightfully fresh and hilarious insight into the man who thinks the civil service is an “idea for history books””

Political satire is nothing new. Wherever organised government has existed it has always been inevitable. From Aristophanes to Dante to Shakespeare, and beyond. In some parts of the globe, it can lead to arrest, and worse. Thankfully not here (for now at least). Our small screens are full of it. Newspaper cartoonists are experts at it and literature is awash with it. And, of course, theatre cannot resist it.

Neil Green’s new comedy, “DOM the play”, opens on such a strong note that we wonder where it can go from here and whether it can sustain the level of sharp observation and comedy for the next two hours. The fact that it can is not just testament to the writing, but also to the performances of the four actors who occupy the stage at the Other Palace, mere meters away from where the real-life action takes place. But Green does have an advantage: the past few years have offered up some pretty rich pickings.

“DOM the play” is not just all about Dominic Cummings. Obviously, he is the main man, but co-star Boris Johnson tries to bumble his way into the spotlight, casting his dubious and ridiculous shadow over various allies and opponents. Yet it is Cummings who comes out on top. Art imitating life? You decide.

Here’s a competition. If you were given a list of quotations, would you be able to tell which are fact and which came from the writer’s keen imagination?

Chris Porter is Dominic Cummings. Outspoken and confidant he unashamedly gives us his views and versions of events, shining a light on the Brexit shenanigans, Barnard Castle, Covid, and Boris. Porter gives a quite simply stunning performance. Tracing the journey from Boris Johnson’s key confidant to worst enemy, he portrays an impossible character, but achieves the impossible feat of making him likeable (note – any references to the real-life Dominic Cummings are objective observation – based purely on the UK media’s impartial representation of him – and not a personal opinion at all).

The show offers a delightfully fresh and hilarious insight into the man who thinks the civil service is an “idea for history books” (Cummings). The man who proclaims, “I’m not a genius – everyone else is a dick” (Green). The Barnard Castle is glossed over and brushed aside. Durham Constabulary took no action over the trip, so what’s the big deal? The “£350m million a week for the NHS” he invented was discredited. So? And Brexit? The Foreign Office couldn’t negotiate themselves “out of a paper bag” (Cummings or Green – you decide. See what I mean?)

Tim Hudson, as Boris Johnson, is equally delightful. Accusations of caricature are irrelevant when portraying an already larger than life caricature. The beauty of the performances stem from the balance of scorn and affection, and the sheer humour. Some sensitive and contentious issues are addressed, but we never forget that this is entertainment. And the joy we feel from the cast members is infectious. Rebecca Todd and David Mildon, between them, appear as Cummings’ friends and foes (mainly the latter) including David Cameron, Nicola Sturgeon, Nigel Farage, Tony Blair, John Prescott, Angela Markel, Prince Andrew, Theresa May, among others. Todd and Mildon complete the quartet with an acute eye for the mannerisms and accents. Without any costume change they switch characters seamlessly and convincingly, eschewing impersonation for realism.

Michael Kingsbury’s fast paced direction propels the action without a dip. There is barely a pause for the frequent laughter to die down. The jokes are as remorseless and shameless as the characters are unrepentant. The comedy derives from its honesty. It is only when we get home that the unsettling reality seeps in. It’s funny on stage – but the carnival of buffoons exists in real life. When Cummings backed up Johnson over the post-Brexit deal for Northern Ireland, he stated that Boris hadn’t lied in the election campaign because he “never had a scoobydoo what the deal he signed meant in the first place”. That’s not Green’s script. It’s verbatim.

Tag Archives: The Other Palace

Trompe L’Oeil

★★★

The Other Palace

TROMPE L’OEIL at the The Other Palace

★★★

“an intriguing concept and one that will probably divide audiences, and lead to some interesting discussions”

“The ambition has to be admired, and the pace is frenetic, anarchic and chaotic”

TROMPE L’OEIL at the The Other Palace

Reviewed on 29th September 2023

by Jonathan Evans

Photography by Danny Kaan

Previously reviewed at this venue:

Dom – The Play | ★★★★ | February 2023

Ghosted – Another F**king Christmas Carol | ★★★★★ | December 2022

Glory Ride | ★★★ | November 2022

Millennials | ★★★ | July 2022

Trompe L’Oeil

Trompe L’Oeil

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Dom – The Play

★★★★

The Other Palace