In a week where American political drama feels inescapably pervasive, a sharp and timely theatrical satire has arrived at London's Park theatre. Rotus: Receptionist of the United States, a one-woman show by newcomer Leigh Douglas, delves into the mindset of Maga women with a blend of humour and pointed commentary.
A Sold-Out Edinburgh Fringe Hit Makes Its London Debut
Following a completely sold-out run at the Edinburgh Festival Fringe last year, this production could not be more relevant. While some audiences might feel overwhelmed by the constant stream of Trump-era absurdities, Douglas's performance offers a fresh, comedic lens through which to examine contemporary US politics.
Chastity Quirke: A Sorority Girl in the White House
Douglas, an Irish-born, American-raised comedian, embodies Chastity Quirke, a former sorority sister who now serves as the White House receptionist for President Ronald Drumpf. This fictional administration is portrayed as deeply sexist and riddled with other prejudicial 'ists'.
Chastity opens the show with fervent conservative zeal, championing Maga-inspired beauty ideals. She provocatively asks the audience to cheer if they believe in 'making America hot again', and her performance is punctuated with suggestive gyrations.
Despite her role, Chastity vehemently rejects being mere 'window dressing for the Drumpf administration'. She views herself as an integral part of the political machinery. However, a disembodied narrator—also voiced by Douglas—hints at impending turmoil.
A Plot Thickens with Political Intrigue
The narrative reveals President Drumpf's unlawful scheme to extend his tenure beyond two terms. Chastity becomes privy to this conspiracy and faces a moral dilemma: will she obediently destroy the incriminating evidence, which her boss has hidden in a Whole Foods carrier bag?
Leigh Douglas: A Versatile and Seriously Funny Performer
Over the course of seventy minutes, Douglas demonstrates remarkable versatility, not only portraying Chastity but also a range of supporting characters. Under the adept direction of Fiona Kingwill, she masterfully shifts personas.
For the male characters in Drumpf's circle, Douglas adopts slouched postures and lecherous stares, while the female roles are depicted with sprightly, coquettish energy. The minimalist set design proves flexible enough to accommodate each new character without feeling constrained.
Satirical Bite and Narrative Pacing
Initially, the show is immensely entertaining, packed with witty observations and sharp satire. However, as it progresses, the momentum begins to wane. The humour becomes less incisive, and some jokes veer towards the overly broad.
A notable example is Chastity's reinterpretation of Martin Niemöller's poignant poem, First They Came, which originally addressed apathy during the rise of Nazism. Her version—'First they came for the immigrant families, and I said nothing, 'cause I wanted the boys to like me'—aims for satire but may lack the intended subtlety.
A Tense and Abrupt Conclusion
The production concludes with a sudden and tense finale, which somewhat dulls the impact of its more provocative satirical moments. Nevertheless, there is much to admire in this performance.
Douglas and Kingwill have successfully pinpointed what drives many Maga women: a complex combination of the desire to conform to beauty standards and a profound craving for influence and authority.
Rotus: Receptionist of the United States is showing at the Park theatre in London until the 7th of February, offering audiences a thought-provoking and humorous exploration of modern political archetypes.
