If we consider Reithian principles as the epitome of impartiality and truth in public service broadcasting today, then Jack Thorne’s play examines the man who established them during a critical juncture in the history of the British Broadcasting Company or BBC, and explores his inner battle with honesty.
The play portrays John Reith at the helm of the BBC, poised on the brink of becoming a corporation. In 1926, during the general strike, the wireless service gains popularity in the absence of newspapers on strike, drawing conflict with Stanley Baldwin’s government, which seeks to take control of the service. Reith ensures fair representation of trade union views but runs afoul of the government when he refuses to air the archbishop of Canterbury’s conciliatory speech. The future of the BBC as a corporation hinges on Reith’s decision to either submit to the government’s will or maintain his impartiality.
The play presents rapid, evocative scenes and dialogue that inform and entertain but lack profundity. Stephen Campbell Moore’s portrayal of Reith as devout and self-important does justice to neither a hero nor a villain, resulting in an ambiguous message about the possibility of impartiality. Ultimately, the play raises questions about whether individuals with great ideals can live up to them and if there exists a concept of the greater good, as the archbishop quizzically observes. Despite its relevance to current issues such as media bias and censorship, the play feels like a piece of nostalgia.
The subplot involving Reith’s remorse over his past relationship with his homosexual lover, Charlie, creates a connection between his quest for truth and his marriage to Muriel, built on lies. However, the sketchy development of Muriel’s character detracts from the play’s central theme, and Reith’s flashbacks to Charlie’s story imbue the play with vitality.
Adrian Scarborough enlivens the production as Winston Churchill, while Haydn Gwynne’s portrayal of Baldwin is charming. Katy Rudd’s direction, combined with Ben and Max Ringham’s ingenious foley effects, brings the stage to life, as actors use objects such as a typewriter, a fishbowl, and a teapot to create playful sound effects. Laura Hopkins’ set design and Howard Hudson’s lighting, augmented by Andrzej Goulding’s video projection, spectacularly recreate the general strike.
In sum, Thorne’s play celebrates the power of radio by highlighting the importance of sound effects. Despite some flaws in character development and a lack of overarching clarity, the play remains a worthwhile experience.
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