Review: Democracy

A revival of Michael Frayn's dissection of cold war politics.

Back in 2004, Clive Barnes, a former theatre critic at the New York Times, called Michael Frayn’s Democracy "(A) true-to-life version of a modern Julius Caesar with a touch of Othello thrown in”. Following equally rapturous reviews from its run in March this year at Sheffield’s Crucible Theatre, Democracy arrives this week at the Old Vic in London.

The play tells the true story of Stasi spy Günter Guillaume as he makes his way through the highest ranks of the Federal Republic of Germany’s government. The unlikely relationship he formed with Chancellor Willy Brandt, played by a strikingly imperious Patric Dury, is subject to close scutiny by Frayn, who attempts to draw out the parallels between the two men: one, the leader of a nation, as isolated as he is suffocated by those hoping to grasp power around him, and the other, a half-wit civil servant, torn between his allegiances to East Germany and later Brandt, for whom he holds real affection. Their fates have a tragic symmetry to them, with Brandt’s  political career coming crashing down in response to the “gutter press” scandal unleashed by Guillaume being uncovered as a spy. Both men are left bereft by the consequences of Guillaume’s betrayal.

Yet Democracy lacks any of the tragic gravitas that any description of the plot might suggest. It is, after all, a fascinating subject: the leader of a nation wittingly and unwittingly betrayed by a close friend, a spy, at the height of the cold war. Yet in watching the play, it is hard to feel any of the suspense that the promise of Guillaume’s downfall should engender. The fates of both characters do not inspire the kind of paralysing disbelief of an audience who has sat through, say, the aforementioned Othello.  Aidan McArdle’s portrayal of a deliberately irritating Guillaume may be too convincing for the audience to develop any real empathy for him.

Yet Frayn’s play is also a thorough dissection of Cold War politics, charting the sweeping changes in Western Germany’s diplomatic relations with the Eastern Bloc. Perhaps there is a case to be made that Democracy even makes pertinent observations of modern political life in Britain. There were sniggers in the audience at any mention of the difficulties of trying to run a coalition government, for example. At a stretch one could even spot a reference to Wikileaks, with Guillaume rummaging through secret diplomatic cables that see various embassies whingeing about each other. More generally, however, the internal struggles of political life that it portrays could be applied to many places - but any insight and comedy it provides is slight.

Ultimately, it is the images of memorable episodes in German history, and Brandt’s role in them, that linger in the mind: the Chancellor kneeling before the Warsaw Guetto Heroes Memorial in 1970, for example, or, the same year, his appearance in East Germany, the first time a West German Chancellor had ever crossed the border into the GDR. At one point, while Brandt is delivering a speech, Guillaume and fellow spy Arno Kretschmann, played by Ed Hughes, are bathed in a sepia shade of light; their rapt attention, seen in this aging light, capturing for a few seconds on stage a slice of German history. Democracy may not be a universal, indeed democratic, play, but it is undeniably an important tribute to 20th century European history.

"Democracy" runs at the Old Vic, London SE1 until 28 July

Cold warrior: Michael Frayn, author of Democracy Photograph: Getty Images
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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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