The Conspirators

Synonyms for conspirators include plotters, connivers, collaborators and accomplices, and all of these are true descriptions for the group who form the centre of The Conspirators, Red Phoenix Theatre’s current production.

However, for every conspiracy there is also one essential element, and that is manipulation. To manipulate, control, influence, falsify or handle a situation or a person, or a group requires a manipulator; a Machiavellian character in fact who is cunning, deceitful, amoral and opportunistic. This is the perfect description of Helga, played superbly by Emily Branford. Branford charms and entices the audience into her web in the same way as she charms, cajoles and seduces the people around her, who she has turned into conspirators. Branford’s timing and physicality on stage is delightful to watch.

Director Michael Eustice has created a production where the physicality and quirks of each of the characters is foremost in the performance. This helps to keep the humour alive and reinforces the satire of Vaclav Hável’s writing. Eustice’s direction, which often has actors repeating the same physicality, is a master stroke as it has the audience totally engaged in waiting to see if the same actions will occur, thus heightening the comedic qualities within the writing of the play.

Colonel Moher, Chief of Police Intelligence - played by Brant Eustice - is the potential dictator, using and abusing his power and people. Protected by his bodyguards at all times, he would seem to be the character to fear. Moher and his acolytes’ perverse delight in torturing Stein (Russell Slater) is horrible to watch. Eustice provides us with another excellent performance in The Conspirators that demonstrates the range of his acting ability.

Major Ofir, played by Adrian Barnes, has elements of an ‘El Capitano’ commedia character, full of bluster in full uniform, and totally attached to his sword, which endears him to us all. You need to see the performance to understand why.  In the same way, as the Censor, Nick Fagan holds both the characters on stage and the audience captive with his sandwich eating. And Tony Busch, as the respectable State Prosecutor, displays some alarming traits to his character that would have him tendering his resignation in Prime Minister May’s government.

This is a strong cast who produce excellent performances, whether they are playing a main or a cameo role, such as Edith, played beautifully by Martha Lott, and Anna Brampton, who steals the opening scene of the show as Helga’s maid, Milena, with her rush to open the door to welcome the intended conspirators to their first meeting.

The set design by Nicholas Ely is effective, emphasising and quickly clarifying where the scene is taking place. Splitting the stage into two areas and using light and coloured cushions works well and helps to keep the pace of the play going. The use of quotations and graffiti on the walls is a visual representation of Havel’s theme that “parroted slogans” have little to do with truth and justice.

The Conspirators is a play for our time with its plethora of conspiracy theories, despite the fact that it was written in 1971. Hável, speaking about the 2007 New York Production, said; “… it was played in an excellent way. … It was perfectly relevant and the audience was capable of finding it in their own world.” And isn’t it often the case that an author’s vision is unknowingly ahead of the time in which it is set?

Red Phoenix can count their opening night as a success and deserve to have a succession of full houses for the season.

Sally Putnam