Smoke and mirrors

Enron is a reminder that theatre is peculiarly well-suited to unmasking the subterfuges of the banke

Theatre is a happily apt mode for examining the rise and fall of Enron. Actors are a dissembling bunch by trade, and the smoke and mirrors, legerdemain and suspension of disbelief required to conjure worlds onstage, sit remarkably close to the conning and gulling that Enron carried out to sell an illusion to the world at large. Enron's financial hubris has been well documented: suffice to say that the truly enormous gap between projected image and reality formed the basis of a spectacular $30bn fraud.

So it's with an uncanny sense of the appropriate that we watch Rupert Goold, this year's Olivier award-winning director, pile on the theatrical techniques in Enron, Lucy Prebble's exposé of the affair. And he throws everything at it: dance, cabaret, barbershop, mime, mask, not to mention a digital soundtrack and video projections.

Prebble evinces a flair for the well-placed analogy, making the impenetrable world of business blather entertaining and occasionally hilarious, even to this financial ingenue. Financial controller Andy Fastow's speech on the creation of shadow companies - his beloved "Raptors" - designed to eat Enron's debt, is a miracle of lucidity as he compares these fake companies and their ownership to a series of boxes within boxes, like Russian dolls.

Jeff Skilling, the man who masterminded Enron's shift from utilities company, selling real stuff, to increasingly fraudulent peddler of futures and derivatives, is observed astutely by both playwright and actor, Samuel West. In his own way, Skilling was as much of a frontiersman as the pioneers who rolled their wagons out in the hope of a better life, as he pushed the Texan oil giant towards the virtual and the speculative. West contrives to look at once weaselly and sympathetic, and whilst we never forget that he's a criminal, he's a criminal who can quote Mark Twain. He actually appears to lose weight during the course of the show, as his body is subtly upgraded - better hair, better eyesight - as befits his rise from professorial lackey to CEO. In some ways the cline of Enron's fortunes is mapped in West's hair: from greasy fringe to razor-smart cut to complete disarray.

Tim Piggot-Smith, playing Enron chairman Kenneth Lay, positively skips into his role as Midwestern Republican oil man, cigar-smoking pal to George W. It's a cross between J.R. Ewing and an evangelist preacher that he looks born to play. And the third in this unholy trinity is Tom Goodman-Hill, who plays Fastow with an East Coast nerviness that has him descending to the twitchiness of a 'Nam survivor as he keeps his Raptors at bay in the basement.

Prebble's gift for the analogous is shared by Goold's use of sound and image. Part Weimar satire, part student revue, various skits and cameos are strung along the narrative thread: so Arthur Anderson, Enron's compliant accountancy firm, are portrayed as a ventriloquist act; and it's more brothers Marx than Lehman when the bankers do a turn as conjoined twins. The giant Schwarzenegger is simply one actor on another's shoulders.

Admittedly some of these images are pretty crude - collapse of Twin Towers equals collapse of Enron, for example - but others are richly suggestive. When the Enron logo appears to have been drawn by Skilling's daughter, it also resembles the chalk outline of a dead body. When Skilling lifts his arms in supplication as he watches the deadly tickertape showing the share price plummeting, it looks like he is being crucified by the numbers.

The set's central monolith alternately veils and reveals the rarified upper floors of the Enron enterprise, like the black glass of an expensive office. It also serves as the backdrop to some highly seductive visuals, including archive footage and nostalgic 1990's montages. When competing with such strongly designed electronic media, there is a frailty to the actual humans on stage that the actors do well to minimize.

As an ensemble they move competently, but perhaps not exquisitely: some of the mime moments are uncertain, some of the transitions a little forced. In some ways, though, I would have liked this very roughness and fragility explicitly acknowledged. If theatre is the perfect metaphor for the fantasy hawked by the Enron cabal, then it would have been fitting to see the strain and sweat behind the illusion, the marionettes' strings, the whole mechanics of the show exposed.

That said, the show is an ingenious, clever, humane, energetic reminder - if we needed one - that things are not necessarily what they seem in financial affairs. Banker beware!

Kyle Seeley
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For emotional value, Emily is Away – a nostalgic instant messaging game – is this year’s best release

If you want to express your lingering teenage angst, there’s no better option.

Every now and then, a game is released that goes beyond what it may look or sound like. It goes straight to the pit of your insides where you thought you had no soul left, and jolts you back to life. Or at least it attempts to. This year, it's Emily is Away.

Firstly, anyone and everyone can virtually play this thing as it’s a crude Windows XP simulator displaying an AIM/MSN messenger client and can run on the PC equivalent of a potato. And it's free. It’s a short game, taking about 30 minutes, in which you play a person chatting away to your friend called Emily (who could be more), choosing from a set list of pre-selected instant messages.

Each chapter takes place in a different year, starting in 2002 and ending in 2006.

You’re instantly smacked with nostalgia thanks to the user screen of Windows XP and a fuzzed out background of Bliss, which was the default wallpaper in the operating system, and probably the most widely seen photo in the world. And your ears aren’t abandoned either, with the upbeat pinging sounds reminiscent of how you used to natter away with your personal favourite into the early hours.

The first chapter starts with you and Emily reaching the end of your last year in high school, talking about plans for the evening, but also the future, such as what you’ll be studying at university. From this early point, the seeds of the future are already being sewn.

For example, Emily mentions how Brad is annoying her in another window on her computer, but you’re both too occupied about agreeing to go to a party that night. The following year, you learn that Brad is now in fact her boyfriend, because he decided to share how he felt about Emily while you were too shy and keeping your feelings hidden.

What’s so excellent about the game is that it can be whatever you wish. Retro games used the lack of visual detail to their advantage, allowing the players to fill in the blanks. The yearly gaps in this game do exactly the same job, making you long to go back in time, even if you haven't yet reached the age of 20 in the game.

Or it lets you forget about it entirely and move on, not knowing exactly what had happened with you and Emily as your brain starts to create the familiar fog of a faded memory.

Despite having the choice to respond to Emily’s IMs in three different ways each time, your digital self tries to sweeten the messages with emoticons, but they’re always automatically deleted, the same way bad spelling is corrected in the game too. We all know that to truly to take the risk and try and move a friendship to another level, emoticons are the digital equivalent to cheesy real-life gestures, and essential to trying to win someone’s heart.

Before you know it, your emotions are heavily invested in the game and you’re always left wondering what Emily wanted to say when the game shows that she’s deleting as well as typing in the messenger. You end up not even caring that she likes Coldplay and Muse – passions reflected in her profile picture and use of their lyrics. She also likes Snow Patrol. How much can you tolerate Chasing Cars, really?

The user reviews on Steam are very positive, despite many complaining you end up being “friend-zoned” by Emily, and one review simply calling it “Rejection Simulator 2015”.

I tried so hard from all of the options to create the perfect Em & Em. But whatever you decide, Emily will always give you the #feels, and you’ll constantly end up thinking about what else you could have done.