DOM The Play
Until April 29
Theatre Royal Windsor
01753 853888
EVERY generation has a political moment that lingers longer than the reputation of the politician that begat it.
Profumo, the Lavender list, Michael Portfolio losing his seat … there’s a lot that ends up not just in the history books, but in folklore.
And generations to come will speak in hushed tones of Barnard Castle, a big red bus, and the tussle for power between Dominic Cummings and Boris Johnson.
It’s neatly encapsulated in DOM The Play, written by Lloyd Evans. Over two 40-minute halves, it unpacks recent history from the Brexit campaign through to Boris Johnson’s ill-mannered resignation, all with just four actors.
It is a tour de force, a bit of farce, and some horrible modern history all in one.
The brevity means it is reasonably economical in its storytelling, with various escapades turned into short moments. Its sparseness is to its advantage, as the show moves at a fair pace, with laughter rippling through the auditorium constantly.
Just as sparse is the staging – four chairs and a tiny table – and the cast, just four incredible actors.
Chris Porter takes the titular role, channelling the intriguing persona of chaos that is Dominic Cummings. It’s all there in his performance: the arrogance, the brilliance, the thoroughness, the intelligence.
It makes a strong counterpoint to Tim Hudson’s sublime impersonation of a prime minister forced to resign in disgrace. Almost as orange as Donald Trump, but with a shock of blond hair on his head, he is messy hubris brought to life.
Completing the cast, and playing every other role – from Tony Blair to Theresa May, with some Nigel Farage, David Cameron and Nicola Sturgeon thrown in – are Sarah Lawrie and Jamie Hogarth. Dressed all in black, they are effectively monochrome characters against the colourful protagonists.
Their impressions are charming, respectful and delightful, adding much to the drama.
The evening flies by, and when the ending comes, it is with some sadness that it’s over all too soon.
Porter is on stage for the whole show, and at times carries it alone, making it a monologue interspersed with interruptions. But the play is more than that and tries to unpack some of the motivations for each of the main players.
Lloyd Evans says he wants people to go beyond their impression of Cummings, Barnard Castle and all, and explore the people behind the public persona. He does so with aplomb.
This is a witty night out, with food for thought.
PHIL CREIGHTON
