Fringe 25: The General Will

Rating: ★★★.5

“What if everything in the world were a misunderstanding; what if laughter were really

tears?”

The quote from Kierkegard is the first thing you see upon entering The General Will, writ large on a flipchart that sees frequent use throughout Salvador Kent’s clown show. It is an appropriate choice for this satirical comedy which frequently blurs the lines between satire and reality with commentary so cutting it was hard to know whether to laugh or cry (but usually the former).

The play begins as a cutting parody of the current UK politics, represented by the blustering ‘Sir Kevin’ (Charles Morris) as he silly-walks his way on stage to revel in his success at the previous election. His glee is cut short by his long-suffering aide ‘Junior’ (Grace Elizabeth Vale) who swiftly informs him that his ratings are taking a nosedive with no sign of recovery. Much of their interaction looks to expose the deep insecurity at the heart of Sir Kevin’s government: “Why don’t they like me?” he laments pitifully to the increasingly put-upon Junior. This prompts Kevin to make a rather stark change in direction, looking to politicians of the past to gain more popularity. In a particularly hilarious moment Junior hefts increasingly heavier volumes about Thatcher, Churchill, and most concerningly Enoch Powell – “Look how much I care, I even read a book!” he states, proudly. This eventually culminates in Sir Kevin performing, verbatim, Keir Starmer’s ‘Island of Strangers’ speech, a bold choice which in other hands could have been jarring and out of place but is teed up perfectly by the remarkable clowning of Morris and Vale who, though appropriately over the top, ground their choices in strong characters who remain clear and consistent throughout. Junior’s dedication to the party’s ideals becomes a tragically hilarious point of anxiety with her acting as the moral anchor to Kevin’s iceberg-bound Titanic, looking on in dread as her party leader sacrifices his very last shreds of integrity.

It is at this point that the show makes a jarring shift in direction as Kevin’s speech is literally paused and two members of the audience take to the stage. Olga (Olga Hlouskova) and Chloe (Chloe Embley) then attempt to devise a piece of theatre based on the events we have observed thus far. This addition recontextualises the prior events, forgoing the pretense of political satire and shifting gears into a Charlie Kaufman-esque examination of the creative process in the current political climate. Interestingly, the relationship between Olga and Chloe mirrors that of Kevin and Junior - Chloe becoming increasingly disillusioned as Olga strays further and further from her original artistic vision to instead cater to the broadest audience possible. While stylistically different to what has come before this second act maintains a largely consistent tone, striking a balance of physical comedy, handled with equal excellence by Hlouskova and Embley, and a more sincere dramatic plotline.

At its best, The General Will is a living, breathing political cartoon - a biting piece of satire that holds up a funhouse mirror to the British political establishment. It is frequently funny and profoundly reflective with expert clowning from the entire ensemble, all neatly lit and tastefully soundscaped, rarely leaving a moment of prolonged stillness or awkwardness. Unfortunately the production very much feels like a play of two halves - the choice to abandon political satire in favour of satirising its own existence left me somewhat disappointed only because the first half is so effective at establishing Kent as a bold political commentator in his own right. Nonetheless, Kent’s adroit and increasingly relevant play will strike a chord with anyone tapped in to current affairs and hoping, as the play reaches its explosive conclusion, that our leaders aren’t all clowns.