Post-Democracy: the icy hearts of the uber-rich
18 Nov 2022

by Drew Rowsome - Photos by Mike Meehan  

Post-Democracy begins with a stunning visual coup de theatre that earned a well-deserved gasp and applause. The play ends with a haunting visual image that left the audience stunned into silence. In between a quartet of loathsome people bicker, argue and scheme. The only attempts at human connection occur during the scene changes, which are balletic and injected with colour to offset the tasteful glistening white of the bubble the four are living in. Living temporarily: it is a luxury hotel suite lounge, high above a poverty-stricken third world country, that they are free to jet away from as soon as they complete a high stakes deal. And deal with a sex scandal unfolding at the home office. And preventing a sex scandal that is threatening to unfold in their own midst.

The setting is chilly, tasteful to the point of ice, and the characters passions and motivations are similarly ruthless. Playwright Hannah Moscovitch (Sexual Misconduct of the Middle Classes, Old Stock: A Refugee Love Story, What a Young Wife Ought to Know, Bunny) seems fascinated with these repellent characters and their utter lack of morality. Money corrupts. And they use money to paper over their indiscretions, crimes, and even occasional flashes of emotional insight. The twists and turns of the plot are as unimportant to the characters as are the ones who get destroyed along the way. All that matters is avoiding responsibility and advancing their place within the corporate structure. It is a very cold indictment that Moscovitch doesn't let up on. There may be humanity in these characters but we are not going to see it any more than they want to reveal it.

Fortunately Moscovitch has an uncanny ear for dialogue, and what is not said between the lines is even clearer, and more damning, that what is said. The actors are uniformly incredible, inhabiting the roles and adding bits of business that is illustrative as well as clever. And managing to hide how much they are relishing chewing on the juicy lines. Diego Matamoros (Little Menace, Ma Rainey's Black Bottom, The Royale) is the lion in winter, the elder statesman with a secret. As head of the corporation he holds his cards close to his chest, an emotional failure but brilliant at compromises. His daughter, the company CFO, evinces a passionate social conscience and Chantelle Han gets to display the widest range while exploding with righteous indignation and simmering with barely suppressed anger and ambition. Rachel Cairns (The Wolves, Romeo and Juliet, A Midsummer Night's Dream, Bunny, Hamlet) is the most duplicitous, a breath of fresh air and sexual candor that turns calculating and cruel. Cairns also gets to inject some physical comedy which made her character endearing before turning sinister.

Jesse LaVercombe (Beautiful Man, Bunny, Hamlet) somehow blands out his good looks to turn in a truly reptilian performance. COO Lee has no concern for others, individually or collectively, and even his seduction technique is transactional. When questioning becomes uncomfortable, he lies, drinks, and repeatedly asks to leave the room. But he can't leave the bubble. At least not until he gets what he thinks he wants. With the help of director Mumbi Tindyebwa Otu (Is God Is, Trout Stanley, Ma Rainey's Black Bottom) the four knit into a tight ensemble while appearing to be predators at heart. Our natural instinct to search out at least one person to root for is thwarted and all are repellent. Until that final image that aims for the heartstrings but instead punches in the gut. Post-Democracy is technically flawless but hard to love. The frigid hearts of the characters makes for an admirable endeavour that throws off heat but never thaws.