‘I am not your punch bag! I am a Member of Parliament!’
An MP with an instinct for compassion. An ex-serviceman with a life in free fall. And a parliamentary protection officer who’s having none of it.
This volatile new play stars BAFTA Award winner Anna Maxwell Martin (Motherland, Line of Duty) as a hard-working opposition backbencher whose ideals of public office are tested by the demands of a man in crisis, played by Tony, BAFTA and Emmy Award winner James Corden (One Man, Two Guvnors, The History Boys).
Directed by Olivier and Tony Award winner Matthew Warchus (A Christmas Carol, Matilda The Musical) and written by Olivier Award winner Joe Penhall (Blue/Orange, Mood Music), The Constituent deconstructs politics, panic alarms and the conflict between public service and personal safety.
__Assisted Performances:__
BSL, 23 Jul, 7:30pm
Captioned, 26 Jul, 7:30pm
Relaxed, (Audio Described, BSL & Captioned) 27 Jul, 2:30pm
Audio Described, Wed 31 Jul, 7:30pm
As a star vehicle for Corden and Maxwell Martin, The Constituent works well enough. There’s some cracking dialogue and the balance between comic and bleak is exquisitely handled, but it smacks of a very fine writer wanting to dash off something relevant and timely, without really offering anything genuinely illuminating or new. The abrupt ending is unsatisfying but, to be fair, that may be Penhall’s point: that for people in Alec’s precarious position, there is no satisfying ending.
Where ‘The Constituent’ unfortunately goes off the rails is in the introduction of a third character. At first Zachary Hart’s paranoid Brummie police officer Mellor seems like a reasonable addition to the story: Monica is getting increasingly worried about Alec’s obsessive behaviour, but doesn’t qualify for proper ministerial protection. But eventually Mellor’s ludicrous behaviour blows up the whole play and unbalances the carefully wrought clash between Monica and Alec. Even when Mellor is out of the equation, Matthew Warchus’s hitherto finely-balanced production feels trivialised and diminished. Penhall perhaps makes a couple of valid points about the British police. But really it feels like he wasn’t sure where to take the story so decided to throw in Mellor as a very crude curveball.
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