The New Real
The Other Place, Stratford-upon-Avon

SINCE his ground-breaking Destiny in 1976, exploring the complexities underlying the BNP surface of British fascism, there is an air of excited expectancy when David Edgar presents another of his epic dramatic analyses of the political scene. 

Just as in his latest book, The Populist Right, examining the current explosion of right-wing movements throughout Europe, The New Real engages with the shift in the political tectonic plates throughout the continent.

From the get-go the audience, divided by a traverse stage, is faced by a rolling collage of newsreel photographs projected onto huge screens, accompanied by a cacophony of commentary mapping the political world since the war.

Politics has often been seen as a power game, often with deadly consequences, where the contestants play by rules that have been malleable but, Edgar believes, have fundamentally changed so that the movers and shakers behind the power mongers can’t recognise the pieces they play with.

Two rival US political consultant strategists, products of the New American Century, arrive in an almost fictional Easter European country in 2000 to advise either side — to show those unused to “liberal democracy” how it is done.

Rachel is accompanied by Caro, a British pollster and data expert, and support the presidential opposition candidate who admires Mrs Thatcher, while ex-colleague Larry is there to support autocratic president Novosky. They have to recognise a country where it is explained that “political campaigning is considerably unethical.”

The second half moves history on 10 years when the same country faces another election after the 2008 financial earthquake has contributed to a new “branded” reality where people and countries alike are branded — “your brand must be a viable commodity.” The social divide now is not defined by class but between those who live somewhere, needing things to be just so, and those who live anywhere, the “laptop and latte” freewheeling fraternity.

We move on through the years when this new reality takes hold. Edgar posits a world where “perhaps there are people who operate behind the scenes in the shadows.”

Edgar’s play is densely verbal but is injected with humour and a comic send up of the political loading of the European Song Contest brings a moment of high comedy.

The last words are left to the somewhat sinister Russian agent, Zhudov: “Our politics is a hologram and yours a shadow-play. And vice versa, naturally. 

As one of those few brave plays to confront the politics of our world head on, Edgar is served by splendid all-round acting and Holly Race Roughman’s skilful handling of a loaded play.

Runs until November 2. Box Office 01789 331 111, rsc.org.uk