The Observer by Matt Charman, directed by Richard Eyre
Cottesloe, Royal National Theatre until 8 July.


As you watch our current political upheavals in disbelief, spare a thought for those who live where voting troublesome leaders out of office usually involves violence and intimidation, where sophisticated specialists are jetted in to explain how western democracy works.

In Matt Charman’s compelling new play, Fiona, an earnest election monitor (Anna Chancellor), falls in love with the idea she can assist the democratic process in an unspecified African country (but inevitably reminiscent of Zimbabwe). Whilst making her observations, she makes use of her position to encourage more voters to register, with the outcome that an inevitable landslide for the repressive incumbent president turns into a knife edge win for the new, more progressive opposition.

Quietly observing this conspicuous observer is Saunders of the FO (spot on character observation by James Fleet), shadowy and cynical, who intercepts her emails to inform head office of her passionate ambitions for the electorate. He and they fail to stop her making waves; ignoring her colleagues, Fiona steps over the line. She goes on live news TV, prompting the president’s people to seek her help arranging a deal with the newly popular opposition.

Is it a step too far? Fiona’s African translator tells her, “We don’t need you to save us!”, and we’d agree, but then we don’t have elections where bloodshed is a sign of hope, where people will queue up for hours, even days, to make their vote to try and make a difference. What else could she have done? She’s there to see fair play and it’s hard to avoid interaction – it’s a good paradox; as those most detached of observers, quantum physicists will tell you, measure something and you inevitably change it.

Having Richard Eyre back at the National is a treat. His great talent is clarity – he uses very good actors (especially Chancellor, Fleet and RNT newcomer Aïcha Kossoko) and media techniques like the familiar TV news strap line to achieve direct, pacy storytelling. It’s gripping stuff, but we’re never sure who’s working who, and the question is never resolved about how far we should go to export our particular brand of liberalism.

As Fiona’s boss gently tells her, observers have to be seen as see-through in their detachment – this clarity is essential if there’s to be a true reflection of voters’ wishes. This play does at least remind us of one inescapable truth – elections are never black and white.


Reviewed by Bill Bingham, May 2009