The New Real review – the spin doctors fight it out in David Edgar’s sweeping political satire

In the heart of Stratford-upon-Avon, a thought-provoking new play titled “The New Real,” written by David Edgar, explores the intricate dynamics of American strategists trying to sway an Eastern European election. In a recent interview, we discussed the nuances of the play and its thematic depth with Clare Brennan, who shared her insights on the production.

In the 21st century, strategists play a critical role in shaping political campaigns to align with voter desires. As Brennan pointed out, while the methods may evolve, the core objectives remain consistent, raising a quintessential question: who ultimately reaps the benefits of an election—average citizens or just the elite power players?

The narrative centers on two American consultants, Larry and Rachel, whose ideological rift complicates their involvement in an election in a nation recently liberated from Soviet control. The play takes an unexpected turn when Liudmilla, the campaign manager for candidate Petr, entreats them for assistance against the covert maneuvers of a neighboring adversary.

Brennan noted that Edgar’s writing, with its dynamic exploration of various perspectives, does not shy away from difficult questions, though it sometimes struggles under the weight of its ambitious scope. The play spans twenty years and traverses key moments—from suspect elections and a “sunflower revolution” to cultural conflicts and electoral twists—at a whirlwind pace that might leave some viewers trying to catch up.

As the story unfolds, Edgar’s narrative culminates in a final election where a candidate, leveraging the consultants’ demographic classifications of “people from somewhere” versus “people from anywhere,” resorts to troubling racial tropes to secure victory.

Under the direction of Holly Race Roughan, the production maintains a brisk pace that sometimes sacrifices the subtlety in character portrayal for heightened dramatic delivery. Brennan expressed that Edgar’s material might resonate more effectively in a television format akin to “The West Wing,” which could afford viewers additional context and emotional layers through sound and visuals—elements that, in this staging, somewhat overwhelm the live action.

In terms of performance, Brennan highlighted Lloyd Owen and Martina Laird, whose dynamic presence as Larry and Rachel injects a sense of rivalry into the play. Jodie McNee’s Yorkshire researcher serves as a humorous counterbalance to their intensity. However, it is Roderick Hill’s chilling portrayal of Petr—transitioning from an unelectable dissident to a burgeoning populist dictator—that truly captivates the audience.

“The New Real” runs at the Other Place in Stratford-upon-Avon until November 2, and Brennan’s observations underscore its ambition to grapple with complex themes that resonate beyond the stage.