With another General Election almost upon us, Theatr Clwyd’s staging of My Country seems particularly apt. A political play of sorts, its backdrop is last year’s divisive and historic EU referendum. In the days following the vote, the National Theatre set about touring the nation, interviewing a variety of people to hear their views on the referendum, their town, their country, their lives, and their future. The result is a smorgasbord of opinion, brought brilliantly to life on stage by Director Rufus Norris and Poet Laureate Carol Ann Duffy.
In a similar way to London Road, My Country uses a verbatim script, with Duffy weaving together some wonderfully rhythmic dialogue. She manages to capture the very conflicting and often contrasting views of people extremely well. Using the natural cadence of the English language, she has created a piece of work that is both musical in its tone and voice, and clear in its content and subject matter. It is not burdensome on the listener, with six actors representing six regions of the UK. Each actor plays between eight and twelve characters from their part of Britain. The play can get busy with these various personalities, but thankfully not so busy that one gets lost. Each is brilliantly engaging in their own way: Laura Elphinstone brings a cheeky humour to her North East; Adam Ewan a lovable snobbery to some of his South West folk; and Seema Bowri’s East Midlands characters are charmingly no-nonsense and frank. They complement one another fantastically well. As a cast, they work together brilliantly.
Keeping the six in check is Britannia, played by Penny Layden. Acting as Chairperson, she is a humble yet authoritative character. She enters the room quite ordinarily at the start, in a plain and simple blue suit. Putting down her bag, she clicks on the lights and manoeuvres the seven tables on stage. She greets the audience, then each of the six cast members in turn. They sit at their tables, and she announces the intentions of the meeting in a simple and unassuming way. Then, one by one, they lift up pictures of the people who they are representing – a diverse group that includes some recognisable faces from the political class. When it comes to then recreating their famous speeches, Layden is superb in bringing Boris Johnson, Nigel Farage and David Cameron (to name but three) to life. She not only captures their familiar accents but manages to achieve the individual nuances of their movements and gestures. It is a delight to behold.
Even as she impersonates the Westminster elite with a sense of joviality however, Layden still manages to retain Britannia’s unpretentious and sincere nature. If she were to be too satirical in her performance, the later scenes, holding much more dramatic weight, would perhaps not have worked quite as effectively. Here, there is much more emotional depth. Fractures start appearing. The six on stage start shouting and arguing with each other. Britannia seeks to keep them under control. At one stage, she appears to go through an identity crisis of her own. For a 75-minute production, it manages to say a lot in a relatively short space of time.
Ultimately, this is a play about “the sacrament of listening”. The six actors descend into more bickering and arguing as the play goes on. Britannia has to call them back each time – to “listen” again. They get so caught up in themselves that they forget to listen. We are all the same. It is the reason to feel both heartbroken and ashamed as Christian Patterson, who plays Cymru, assumes the voice of Dylan, a little boy from Merthyr Tydfil. Now and again, above the commotion, he softly speaks: “Be kind… No argues”. But nobody listens to him.
The National Theatre, under the direction of Norris, has undertaken to listen to people from across the country. It has endeavoured to listen with such precision that Duffy has used their exact words to create a multifaceted and beautifully rhythmic script. She has taken their stories and opinions seriously enough to include views from all sides – some funny, some extreme; some uplifting, others uncomfortable. They cannot be accused of being hypocritical in their content. They have listened. They call us to listen to. It is a simple yet powerful message to take away. And one, at this time in particular, that may be worth acting upon.
More information on this touring production can be found here.