If you are looking for a subtle analysis of Thatcherism, then Ed Waugh’s and Trevor Woods’ Maggie’s End is not the production for you. If you want a po-faced synopsis of that specific period of social and economic change when the Iron Lady ruled, then steer clear. If Thatcher is your historical goddess, develop a thicker skin before seeing this play, and if you have a nostalgic view of the 1980s and think it was a gentler time compared to now, be prepared for some stark reminders.
But if you want something altogether more perceptive, more effective, more real and, indeed, more entertaining than sombre interpretation, then here is a comedy drama that hits more targets than it misses. The tone is blatantly biased in favour of the working class and savage in its depiction of authority. The characters are stereotypes for comic effect, but also for dramatic clarity. In simple terms, we understand who to cheer and who to boo, until we are forced to think deeper about who’s really to bless and who’s to blame for the social and economic changes in the latter decades of the 20th century and beyond.
We feel empathy towards characters in one scene and want to throttle them for their stubbornness or ineptitude in the next. But we are not allowed to forget the emphasis on Thatcher as her photograph remains on stage throughout the play. It hangs like a wanted poster and should the audience begin to drift from the plot, a glance towards the picture brings us back on track. We are reminded of many conflicts, many sacrifices and many reasons to remember and re-evaluate the aftershock from Margaret Thatcher’s time in power, and the influences from that era on political leaders and the electorate today.
The play is set in the present and the central pivot of the action is the news that Thatcher has died – “Are they sure? Did anyone actually see someone put a stake through her heart?” – and that she is to be granted a prestigious state funeral. To keep the comedy vibes a-quivering, we hear that she will not be cremated because the lady’s not for burning and that the Iron Lady should rust in hell. But alongside the knockabout gags come memories stirred, conflicts revisited and passions reignited.
The action takes place with “new” Labour still in power and one of its MPs, Rosa, the daughter of “a bitter, washed-up idealist” called Leon, is complicating her career and family relationships by having an affair with the Home Secretary, a deliciously oily portrayal by Adrian Lloyd-James. Leon, played with mighty presence by Rob Laughlin, and his wife see Rosa’s modernism as a sell-out. Using comedy, sometimes a little obvious and, ahem, laboured, as well as sensitive and emotional drama, Maggie’s End makes its points about Thatcher the destroyer, “old” Labour versus “new” Labour, the past versus the future, stubborn attitudes in a changing world, apathy versus action, and by emphasising the lack of apparent political distinction between Margaret Thatcher, Tony Blair and Gordon Brown.
The holders of the flame for the “S” word (socialism) and the “C” word: (comrade) have their work cut out to combat the slick influencers and manipulators in politics today. Those who crave more of the “T” word (trust) in the corridors of power have no less a challenge on their hands.
Waugh and Woods have had a decent stab at consolidating Thatcher’s history and legacy from their specific viewpoint. The script was powerful at times, but occasionally lacklustre when trying too hard for its joke quotient. On balance, a wonderful ensemble cast expertly choreographed by Patric Kearns’ direction delivered an effective production. As for Waugh and Woods, in this era of relative inactivism, thankfully, they are not afraid to have a go.
About The Author
Joe Cushnan covers radio for Tribune
