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Steve Nallon as Margaret Thatcher and Paul Bradley as Geoffrey Howe Dead Sheep
Malvern Theatres
**** DENIS Healey once likened being attacked
by Geoffrey Howe to being savaged by a ‘dead sheep’! This recent play by Jonathan Maitland is an
exploration of the relationship between Geoffrey Howe and Margaret
Thatcher. It explores the development from close associate
and confidante, to the point where the ‘marriage’ was severed and this
first woman Prime Minister sacked Geoffrey from his position of Foreign
Secretary. Thatcher’s reign was already beginning to suffer from cracks appearing in the parliamentary party, resentment was growing at her arrogance, and rivals beginning to consider a bid to unseat her, as she was becoming increasingly despotic. Her difference of opinion with Howe and Nigel
Lawson over the link with the European Union finally meant that she
chose to demote him. As these various pre Jonathan Maitland has created an entertaining
political satire that focuses primarily on Geoffrey Howe, who with Ian
Gow, is the least satirised in the play. He presents him as torn between his loyalty to
his political mistress and his principles. His socialist-inclined wife
Elspeth, who particularly grated with Thatcher, encourages him to stand
up to her, to be strong, assertive and consistent with his own
convictions.
Her character is gently cast in the mould of Lady
Macbeth, even quoting that individual before his killer speech:
‘…..screw your courage to the sticking place!’ The simple, minimalist set creates a strong and effective impression from the outset. The huge portrait of Thatcher’s cabinet and the House of Commons green bench stretched across the stage provide a context for the action which requires a few pieces of stage furniture to complete the design. The portrayal of Margaret Thatcher by Steve
Nallon is a superb caricature: his voice captures her tone brilliantly
and his mannerisms are excellent. Similarly Christopher Villiers’
depiction of Bernard Ingram was very amusing, as was John Wark’s Brian
Walden. However not all the characters were so
caricatured; Graham Seed was an excellent Ian Gow, showing some real
subtleties in his portrayal. Paul Bradley as Sir Geoffrey was very convincing
as the bumbling but clever politician who lacked charisma. He also
managed to show a more appealing depth to his character to a
considerable degree, but never quite achieves heroic status. Carol Royce delivered a very well-modulated
performance: her iciness towards the Prime Minister was controlled but
witty, her relationship with her husband increasingly warm as the play
progressed. This play has a clear plot-line with the growing
distance between Margaret Thatcher and her loyal minister. There are
some very funny lines and moments: the telephone swapping scene when
Nigel Lawson and Geoffrey want an interview with the PM before the
Madrid summit was very entertaining and slickly performed. There are
some moments of poignancy too: Ian Gow’s assassination was followed by
some real pathos reinforced by some excellent music. There are some potent points made about the world
of politics: ‘There is no such thing as friends in politics!’ it is
stated. The ‘-isms’ became ‘-wasms’ when Thatcherism defeated them. The
political critique is generally lightweight and not harsh. Relevant
comments to our current period of Brexit carry rich irony. The play will appeal to those who lived and
followed their current affairs through that era but will mean little a
younger generation. It is slick, sharp and entertaining but limited in
its relevance. To 19-11-16 Timothy Crow 14-11-16
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ssures
came to a head, Geoffrey Howe resigned from the cabinet and delivered a
famous and withering attack on his former boss.