Land of the Free
The 18th Century German philosopher Georg Hegel is quoted as saying, ‘The only thing that we learn from history is that we learn nothing from history’. ‘Land of the Free’ is a stark reminder of this, telling the story of the assassination of US President Abraham Lincoln, on 14th April 1865.
With the backdrop of two recent failed assassination attempts on presidential candidate Donald Trump, the story reminds us of what happens when one nation is divided against itself along political and ideological lines. The writers (Sebastian Armesto and Dudley Hinton) are clear that the issues that were fought over during the Civil War are the same issues being fought over today.
The ensemble cast has 7 performers, but between them they cover no less than 31 roles. This requires dexterity in story telling and direction to ensure the audience knows exactly where they are. In this non-linear story we also need to know when we are! This is achieved simply with a series of boards that are hung by the cast, providing dates and the proximity to the assassination.
The story isn’t so much about the assassination itself as it is the political and ideological ambition of John Wilkes Booth, Lincoln’s assailant. He is portrayed by Brandon Bassir who does well in charting his difficult relationship with his father as a child, following his father into the acting profession, eventually giving up ambitions of acting fame, but instead achieving notoriety. This is one of those characters with whom you find sympathy, despite knowing where his actions are heading. That’s a sign of a good performer.
There are two or three other noteworthy performers, Owen Oakeshott plays Booth’s actor-father with great presence and an appropriate level of humour. Booth Senior is the actor who can’t quite leave the drama at the stage door! Natalie Law, Sara Lessore and Dan Wolff also bring a significant presence on the stage. The whole cast is a good ensemble, providing background incidental music as well as an occasional song reminding us of American history.
Lincoln’s portrayal will always pose a challenge for any actor, as we don’t know him to be the most dynamic of people. However, the choice to cast Clara Onyemere provides the audience with a positive challenge. There has never been a woman as chief resident of the White House, much less a woman of colour. This would have been unthinkable in Lincoln’s day, but in this black history month, we are weeks away from that potential becoming a reality.
The play is created by Simple8 production company who use as one of their techniques the concept of ‘Poor Theatre’, which favours simplicity in set and costume, enabling the audience’s focus to remain on the actors. This set is reflective of that, a simple proscenium arch, with curtains operated on stage by the actors. Behind is a blank wall, enabling the story to enfold with the actors themselves along with the timeline boards displayed on the side.
There is a lot to commend about this play, not least of all its timely challenge for us to look at what our political divisions can lead to. The writers’ aim is to raise more questions for the audience than to provide answers. It does this, but I’m not left with a deep sense of disquiet. Given the prospects of a certain election in a few week’s time, my sense of disquiet should be louder.
This show was reviewed on the 15th October 2024 at the Southwark Playhouse Borough, London where it runs until the 9th November 2024. For details of the show please visit: Land Of The Free - Southwark Playhouse
Review written by Ian Worsfold
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Photo credit: Katie C Photography
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