Review: THE BEST MAN, Richmond Theatre

Playwright Gore Vidal was well placed to have in depth knowledge of what goes on behind the scenes in US politics. After all, his mother was the daughter of a Democratic senator and his father worked for Franklin Roosevelt.

His interest and involvement in politics led to The Best Man, which made its Broadway debut in 1960 and received six Tony Award nominations. Set in a Philadelphia hotel during the 1960 presidential nominating convention, there is no doubt that the workings of American politics have changed somewhat since that time. To appreciate the jeopardy and drama within the play, it is worth understanding that back then, there were often many more deadlocks and last minute dramas to these conventions than now, when the presidential nominees are chosen much earlier.

In this way the subject of the play is not necessarily accurate in today's politics, but it still has plenty of bite in Simon Evan's sharp revival, as Vidal's themes of political corruption and background machinations remain depressingly current. Many of the references such as opposition to birth control and how women should remain in the home are very much of that time, although some may argue that these issues are as alive today as ever.

The focus of the play is on the battle for nomination between frontrunner William Russell, a deeply moral old-money intellectual and former Secretary of State, and his chief rival Joseph Cantwell. The young Senator Cantwell is nakedly ruthless as a self-made man from much more humble origins. The play flips from one group to the other, as dirty tricks revealing mental illness, suggestions of homosexuality and infidelity are threatened and moral boundaries are stretched to breaking point.

Among an excellent cast, Martin Shaw is outstanding as William Russell; he inhabits the role very comfortably. His richly throaty voice resonates well and is very convincing as an astute politician permanently battling against the corruption within the system. His often jittering body language subtly reflects his mental turmoil.

Glynis Barber, after an initial struggle with her accent, settles well into the role of traditional supportive wife to Russell, even though there is much more to her and her relationship with Russell.

Jeff Fahey is also excellent as Joseph Cantwell; he is completely believable as the politician who is willing to walk over everyone else to achieve his own political ends. Honeysuckle Weeks is a standout as his similarly ambitious wife Mabel. She has a great stage presence as the ebullient Southern Belle with a distinctly catty edge.

Jack Shepherd is nicely irascible as Ex-President Hockstader, with some rousing speeches and pithy observations. It is just a shame he is often impossible to hear.

Michael Taylor's careful design means the play is beautiful to watch and the period detail is astutely observed, particularly in Hilary Lewis's beautiful costumes. Jackie Kennedy handbags, sharp tailoring and seamed stockings all fit perfectly with the Sixties setting.

The issue with this play is that among the high quality acting and some sharply funny dialogue is a nagging sense that the play as a whole could be tighter. Act one in particular drags towards the interval, especially the overly long speeches by the politicians, which add little to the story.

More of the delegates such as the acerbic and highly amusing Mrs Gamadge (played with great aplomb by Gemma Jones) and the brilliantly observed icy dialogue between the wives and would be welcome. It is testament to the time that play was written that a politician could be toppled by a suggestion of homosexuality, while marital infidelity is glossed over as though it is meaningless. Again, these subjects cry out for more development.

Despite these frustrations, there is much to enjoy in this sharply observed revival, particularly the very strong and convincingly directed cast.

The Best Man is at Richmond Theatre until 7 October, then touring

Photo Credit: Geraint Lewis

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