With a general election announced during Party Games’ five-day run in Cardiff, what could be more contemporary than a play about a hung parliament? As I settle into my seat at the New Theatre, though, I can’t help but notice the half-empty house – perhaps a reflection on the current disillusionment we have for our political leaders. Nevertheless, the anticipation was palpable.
Written by former political adviser Michael McManus, who worked in central office during the premierships of Margaret Thatcher and John Major, Party Games introduces us to the newly elected prime minister John Waggner (played by Matthew Cottle), a thinly veiled caricature of Boris Johnson. Buffoonish and indecisive, Waggner stumbles through political crises, much like the real-life counterpart he parodies. Deborah Stevenson, known for her stint on Coronation Street, brings comedic chops to the role of Waggner’s aide, adding a layer of satire that is both sharp and familiar.
Purporting to be set in 2026, Party Games clearly references the COVID period; you can identify characters against leading lockdown-era public figures. Ryan Early brilliantly captures the essence of the infamous Dominic Cummings in his role as Seth Dickens, chief of staff to the PM: clad in casual attire and maintaining a unique legs-apart stance in every scene, he effectively cuts through the purposefully pompous and stiff performances of the other cast members. Another character – if it can be called that – is Medianne, an Alexa-like AI bot which ominously listens in on every scene, glowing like a neon technophilic oracle. This bot provides real-time advice, often humorously, adding a modern and satirical layer to the play.
The play’s slapstick physical humour, reminiscent of Basil Fawlty and Lee Evans, is hit-or-miss: some moments land well, others feel forced and disjointed. References to Welsh culture, though appreciated by the local audience (in particular a quip about the “wild speeds of 21 mph”), often felt shoehorned in, and the show’s repeated reliance on flatulence jokes frankly bring the tone down. A mishap involving the King’s car is more comedically fruitful, as is the PM’s team’s insistence on using they/them pronouns, to Waggner’s confusion.
A minimalist set design is ingeniously used, with movable doors transforming the stage into various high-stakes environments. Here, whispered conspiracies, strategic plotting, and crucial negotiations unfold, allowing actors to add depth to their characters by showing how they behaved in different contexts. This dynamic staging allowed for seamless transitions, enhancing the narrative flow and offering a riveting insider’s view of political machinations.
Party Games is a good effort at political satire, capturing the absurdity of modern politics. However, at a time when real-life politics already borders on parody, the play struggles to elevate itself beyond what we see in the news. While it offers laughs and sharp observations, it ultimately felt constrained, much like its characters.
Party Games, New Theatre, Cardiff, Fri 24 May
words DAVID JAMES
