Last night, I went to see The Heretic, a
new play rubbishing the so-called facts behind the shock tactics used when
dealing with the subject of climate change. Interestingly, when I got home, the
idea of politicians using pseudo science and quack statistics to add credence
to their arguments came up on the radio (the next chief scientific advisor to the
government plans to ensure that scientific evidence is taken seriously by an
arts-dominated civil service, apparently), fixing the feeling that the play is
very “now” (we’d already been making comparisons to The Thick Of It, of which series
four is currently being aired, and passing comment on academia kowtowing to the
corporate world in order to secure much-needed funding).
Set in a university earth sciences faculty,
lecturer and sea level expert Diane Cassell (played very competently by Cate
Hamer, pictured) is the heretic (def: “the upholder of an opinion opposed to the usual or
conventional belief”) in question: “I’m a scientist. I don’t believe in
anything,” she says at one point. Her own research and the massaged reports of
her peers have made Dr Cassell cynical about global warming, but her outspoken
views and gas-guzzling lifestyle make her a target for death threats and dismissal.
In fact, while the play does deal with some serious issues, emissions and ozone
aside (also cropping up are anorexia, self-harm, mental health…), ultimately
it’s a comedy, which, in the second act, leans more towards farce.
Writer Richard Bean’s last play, One Man,
Two Guvnors, was critically acclaimed and picked up a Best New Comedy award,
and The Heretic’s clever and colourful language and back-and-forth ripostes,
especially with the high-falutin scientific lingo, are very funny. However, I’d
say the last quarter of an hour or so lets the rest of the production down a
little, and the farce feels forced and the acting a little over-egged (though
Ciaran Kellgren as Ben Shotter couldn’t get much more OTT with his “yoof”
accent - a misguided move, I felt, on the part of Bean and the director, Chris
Honer). It’s a shame, but the dénouement is obvious; the trick played on the
audience at the opening of the final scene, when Professor Kevin Maloney
(Stuart Fox) comes on stage (following, incidentally, a gaping props clear-up),
is cheap, and the loose ends are tied up too glibly, and in too clichéd a way.
Still, The Library have done themselves
proud with the set (in the Quays Theatre at The Lowry), which, between acts,
moves from a convincingly cluttered university lecturer’s office to a
well-kitted kitchen in a very big house in the country (by the way, where does
Dr Cassell get all this money from to have a posh pad and
a Jaguar car? I thought academics were destitute!). The detail is great, right
down to the house’s stable-style back door and coat hooks at the bottom of the
stairs and the charts and notices in the corridor outside the office door.
There’s also a nice device when Dr Cassell
is interviewed on Radio 4. Having just the audio might not have persuaded us as
to the “authenticity” of the clip, but when a screen is lowered from the
rafters and we see John Humphrys in all his Today programme glory, it really
does add weight to the plot and makes the subsequent disciplinary scene all the
more believable.
And that’s what this play is all about:
believability. And I’m mostly there, just not fully.
The Heretic is on until 13 October. See the Library Theatre website for times and tickets.
Photograph: Gerry Murray
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