Review: LAND OF THE FREE, Southwark Playhouse

In 1860, the election of Abraham Lincoln was hailed as the most important election in American history, a turning point for a country teetering on the edge of civil war. Today, as the United States faces another pivotal presidential election in 2024, the resonances are impossible to ignore. 

Land of the Free, Simple8's new production at Southwark Playhouse, sharply draws these parallels, reminding us that history is never as distant as we think. This pertinent production, which chronicles the lead-up to Lincoln’s assassination, serves as a sobering reminder that history, if not learned from, has a way of repeating itself, shaping and shattering nations in its wake.

In two acts, and a frustrating non-linear timeline, we follow John Wilkes Booth – a headstrong struggling actor who uses charm as a mask for his insecurities. We learn a little about his childhood – which is a credit to his off-putting demeanour later in life – and his floundering career and political animosities which ignite his motivation to assassinate the president. There are also a few scenes about his love life, possibly as an effort to humanise the cartoonish character a little but fail to really do so. And then, there are  the political scenes – with Abe himself – which delve into the psyche of a wired ruler amidst a country on fire. Sound familiar? 

These scenes are where the sheer intelligence of Land of the Free lies. The parallels between Lincoln’s tumultuous times and our own are unnerving. As the play explores the fraught political landscape of the 1800s, it deftly weaves together Lincoln’s electoral journey with the very real crises of modern politics. It highlights how free speech is stifled, how the media can corrupt, and how the voices and narratives of our marginalised communities are both vital and vulnerable. The show’s portrayal of these tensions makes the distance between Lincoln’s time and ours feel shockingly narrow, offering a frightening critique of the ongoing struggle for justice and truth in democracy.

Outside of Lincoln’s more reflective and confrontational scenes, Land of the Free becomes somewhat frustrating. If the intention is to draw parallels between history and the present, it often feels too heavy-handed, with moments that border on a lecture as the ensemble directly explains events to the audience. If the goal is to explore the psyche of those who fuel political unrest, it falls short, as the characters remain underdeveloped and one-dimensional. It feels like the show is trying to do too much at once. While there are some exceptionally clever devices throughout – Julius Caesar comparisons, the use of placards to contextualise – by the second act, they start to feel overused and lose their impact.

Despite a tricky text, the ensemble is constantly entertaining and engaging. Brandon Bassir gives a lively, giddy performance as Booth, capturing some heartfelt moments -  I wish he was given more to work with as his talent is obvious. A standout is Clara Onyemere who multi-roles but gives an especially compelling and perceptive portrayal as President Lincoln. The star of Land of the Free is Sebastian Armesto’s exceptional direction. Co-writing the show with Dudley Hinton, his staging is flawless.

As I left Southwark Playhouse, I overheard numerous conversations about politics and the upcoming elections. I found myself wanting to share my own sparked thoughts with politically minded friends. In that sense, Land of the Free might be considered a success. Yes, its structure stumbles and feels a bit misguided at times, but it got a room full of people discussing some truly important issues.

In a world facing such uncertainty, that’s exactly the kind of conversation theatre should be encouraging.

Land of the Free runs until 9 November

Photo Credit: KatieC Photography