Chris Eldon Lee reviews ‘This House’, which is at Birmingham Repertory Theatre until Saturday 21st April – and touring.
The most remarkable single thing about ‘This House’ must be the decision to write it. It was certainly the most manic period of 20th century Parliament. The years of 1974 to 1979 were beset by snap elections, paper thin majorities, hung parliaments and general chaos in The Common. Writer James Graham wasn’t even born when it all happened, and he steadfastly claims that his version of events “should not be understood as historical record”. But his exhaustive research must have brought him pretty close to the true story. There are plenty of Old Parliamentarians still around to put him right, otherwise.
His play is fast and furious and – for the politically astute – great, great fun. It has to be; because the events it describes are lunatic to say the least. He doesn’t have to ridicule The House – The House ridicules itself.
It’s musical chairs time in The Commons…and honourable members are gleeful or crest-fallen about whether they’ve inherited the pneumatic chairs or not. Labour are ‘in’ with a negative majority (minus 33) and the Whips have their work cut out to recruit the minority parties (the ‘odds and sods’) to vote with them. The Tories meanwhile dream of winning a vote of no confidence…and thus another election.
Graham places the two Whips’ Offices (the powerhouse of Parliament) side by side so we can see what’s happening in both – and so he can make the most of the comedy of juxtaposition. It’s a case of grown men in the playground.
So confident is he of his story, he names names, identifies constituencies and cracks jokes throughout. So, we have the new Honourable Member for Redditch returning from his constituency apoplectic that he’s been sold a pup by Tory HQ. “You told me it was in Worcestershire,” he moans. “But it’s not. It’s … it’s … it’s in Birmingham!”
In such constrained circumstances it is only possible to govern by Gentleman’s agreement. There is an age-old arrangement in which opposing MPs who need to be absent can be paired up when the division bell rings; thus preserving the natural result of the vote. But, amidst claims of cheating, the Conservatives withdraw from the deal. In Graham’s account of events, the elderly member for Batley is at death’s door and even the most hard-hearted of Labour Whips daren’t demand he travel down from Yorkshire for the ‘No Confidence’ vote. In an odd outbreak of humanity, Labour Whip Walter Harrison begs his Tory counterpart Jack Weatherill to restore pairing. To his surprise, Wheatherill compassionately agrees not to vote himself … so saving the old man’s life. But deep in their soul, Labour feel they can’t accept such a generous gesture. The old man stays in his sick bed. Labour lose by one vote. And in such a flimsy circumstance, The Iron Lady comes to power.
We never see the big guns of the day. Harold, Ted and James Callaghan are merely talked about…and the very first mention of the phrase “The Honourable Member for Finchley” brought painful boos from a first night audience who lived through the next eleven years.
There are memorable moments played out on stage, including John Stonehouse’s fake drowning and Michael Heseltine’s antics with the sacred mace. But it’s the underbelly of the daily duelling in the back offices that shines through James Graham’s witty and observant script. ‘This House’ is a wonderful ensemble piece, more choreographed than produced. If there is a star turn it has to Martin Marquez as Chief Whip Bob Mellish – a performance made even more remarkable by the fact he resigns at half time. The most chilling portrayal of political pig-headedness comes from Louise Ludgate playing the left-wing MP for Coventry South West who ideologically puts her own political purity before party survival. She’d rather pay a fine … and pave the way for Maggie.
What happens to spent MPs? Shropshire’s Rae Smith – the designer – provides them with a long tunnel of white swirling smoke to walk into – never to be seen again.
‘This House’ was premiered at The National in 2012 and is quickly becoming one of the most important plays of the 21st Century. This touring production is maturing very nicely. Jokes about Scottish devolution get funnier as the months slip by. If you love Election Night, you’ll love this.
Visit www.birmingham-rep.co.uk for information about Birmingham Rep.
Photo : Johan Persson