Democracy - Theatre Review
The Old Vic’s current revival of Michael Frayn’s Democracy could not be more perfectly timed.
The Old Vics current revival of Michael Frayns Democracy could not be more perfectly timed; a play about the mistrust and deceit within a fledgling coalition government will bear more than a few contemporary similarities. Günter Guillaume is a lowly public servant who, by sheer luck, is plucked from obscurity to work in West German Chancellor Willy Brandts newly formed office in 1969. Guillaume is also a dedicated East German spy, and is tasked with becoming as close to Brandt as possible. Paul Millers direction is assured and confident; he lets his cast stand tall as the play opens, positioned across the stage like skyscrapers, symbols of the prosperous possibilities of West Germany. Patrick Drury stands foremost as Brandt, and speaks with a confident tone of voice; Drury manages to perfectly make a speech appearing to speak to everyone whilst really looking at no one, I wonder if he ever considered a career in politics? Aidan McArdle is fantastic as Guillaume, managing to convey repressed frustration and excitement in even his slightest body movements. The relationship between Brandt and Guillaume is nicely played, and the scenes shared between the two are the highlight of the night; a trip to Norway in the second act particularly stands out. Miller mostly handles the plays revolving door structure of performers coming and going of on and off the stage well, whilst keeping up with Frayns fast paced dialogue; sometimes the plot does become bogged down in complicated political talk but it quickly moves on. Amongst the rest of the cast, William Hoyland as pipe smoking Uncle Herbert Wehner and David Mallinson stood out. Designer Simon Daw uses the space well and is complimented by Mark Doubledays subtle but impactful lighting. Although the stage at The Old Vic is tall and wide the multiple sets used all felt small and cramped, filled with second hand smoke and mistrustful looks. Above all Frayns play appears to be about attraction; whether it is the huge admiration that Guillaume builds for Brandt, or even the assurance that spy handler Arno needs Guillaume to collect, to confirm his states hopes off Brandt. Paul Millers production of Michael Frayns gripping text is well staged, and just maybe seeing a play set in the early 1970s West Germany could give us an insight into the state of affairs today. 