“Eleven separate democracies all tied up like ferrets in a bag…”
It wasn’t a play that initially held much appeal for me; I was unsure as to how gripping and dramatic a political play could be, and a tad uneasy about how much of it would go over my head. But Paul Miller’s production of Democracy had me gripped from start to finish. Striking tableaux, riveting performances and flawless storytelling made up what has got to be the best production I’ve seen this year.
This production was striking in its simplicity, with the physicality of the men on stage used to convey a compelling story of power, betrayal and politics. In smoke-filled rooms German leaders of a coalition government manoeuvre and second guess one another, revealing many of the contradictions of power; in which the ideals of a party are more triumphant in electoral defeat than victory, where men are all out for themselves and yet utterly dependent on one another, and the best leaders are beaten down by disillusionment and frustration.
Viewed through the eyes of Gunter Guillaume, an unlikely double agent who has managed to infiltrate West German government – we follow the political life of Willy Brandt, the charismatic leader of Germany’s Social Democratic Party, and Chancellor of West Germany between 1969 and 1974. We watch as he triumphs, compromises and finally abdicates his Chancellorship, amidst rumours of scandal and betrayal, in a production in which an overriding stillness emanates a sense of brooding disquiet and disintegrating power.
Michael Frayn’s play paints a picture of a leader who is inspiring, charismatic, in touch with the needs of his country, and, like all good heroes, ultimately flawed. Patrick Drury’s steadfast, almost messianic, portrayal of this iconic man contrasts brilliantly with Aidan McArdle’s sycophantic Gunter Guillaume, whose narrative voice is at once humorous and conflicted. Powerful scenes, such as the controversial Warschauer Kniefall, are delivered against a backdrop of political machinations, duplicity and the suggested adultery and alcoholism of West Germany’s leader. Miller’s direction of his exemplary cast really highlights the significance of defining moments in this period of Germany’s history, with use of blocking and powerful tableaux to convey a lasting impression of iconic moments and events. Having the majority of actors on stage at all times played perfectly with the overlapping dialogue and time/place-transcendent dialogue, effortlessly portraying five years of politics in just a couple of hours.
I was inspired by Miller’s production to look a bit further into the story of Brandt and Germany’s division, and discovered an incredibly fascinating period of history which I knew very little about. From the corruption and terror of East Germany’s Stasi, to the ideals and reforms of Willy Brandt, who sought a life without conflict and a land of love and justice, comes a story which highlights the failures of government, and the price of power.
Performed by an excellent ensemble cast, Miller’s production is thought-provoking and visually striking. Aidan McArdle is faultless as the perfect servant of two masters, always eager to please and tragically naive; whilst Drury really captures Brandt’s melancholic descent into depression and disillusionment. I would thoroughly recommend that you go and see Democracy, which plays at the Old Vic until Saturday 28th July. Catch it while you still can if you’re a fan of powerful, moving and inspirational theatre.
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