It’s been a while since I’ve seen something that has such direct relevance to world events as they are happening right now. As conflicts flourish and the east and west collide so violently in ideology and practice, The Angry Brigade – which only premiered in 2014, at England’s Theatre Royal, Plymouth – is well worthy of the momentum it builds internationally. I hope this Samuel Phillips-directed production will also build nationally.

It seems the British playwright James Graham, who I had never heard of prior to attending this, is what Dean Parker is to us: an intelligent, prolific, political commentator.

Entry into the world of The Angry Brigade is immediate. The saturated colour-palate, dull lighting and minimal set design gives it an initial Gliding On feel. A middle-age-spread, blue-cardied, slightly pompous, tea-drinking copper, Superintendent (Andrew Patterson; the character isn’t credited with a name) waxes lyrically, and somewhat sinisterly about recent bombings in 1970s London claimed by The Angry Brigade. This is directed at a rather idealistic and to his delight, newly-promoted Detective Sergeant Smith (Patrick Carroll) who reminds me so much of a former work colleague in his mannerisms and dress, it’s slightly disorienting especially, as this stage version is far more likeable.

This is a recruiting (just like in The Wire: best cop show ever) for a surveillance team (that still exists today, according to Google) in Scotland Yard to bring the culprits to justice; to address what happens when the threat is ‘within’. Smith is joined by Henderson (Comfrey Sanders), Parker (Karin McCracken) and Morris (Andrew Patterson).

And so it begins: a testing of individual belief and pedagogy, and a learning/ revolutionising as such (though this is never fully explored) as the unit attempts to get into the minds of the terrorists because, as Smith declares, “These terrorists are young, homegrown, first of their kind and driven by an idea and I don’t know how to capture an idea.” 

The age old cat and mouse chase ensues. The coppers are closing in on the suspects and then boom. Lights up. INTERMISSION! I groan.

Ten minutes later it’s all explained with a set change because now we see the perspective of the mice: The Angry Brigade.

Again, there is a doubling up of roles amongst the cast with accompanying accent and wardrobe changes. Gotta say though, it’s Patterson who seems to be able to bust them out and their persona effortlessly with a couple of extra fast transitions. Nevertheless, I feel like I am witnessing the development of what will be truly fine actors here. They all hold their own perfectly.

I find the second half a little looser and laboured than the first half. There is just so much to get through, dialogue-, relationship- and story-wise. But when it draws to a close, it happens tidily.

In the production notes (which are given post performance) I read up on the playwright’s meteoric rise and obvious kick-arse talent. I’ll say. I’d say the same of Samuel Phillips who, I’m not surprised to learn, has already won a Chapman Tripp Theatre Award for direction. He is most definitely someone to watch and support in development (hint: support financially). There are clever and surprisingly subtle choices that just make this a joy to watch.

I am guessing for any actor cast in a production of the Angry Parade, the dialogue is the kind of meaty stuff you relish. Comfrey Sanders (Anna) in particular is fantastically saucy in the delivery of one scene.

The 17 Tory Street venue in Wellington is the space where a work like this should show, given its social justice leanings. However (I am guessing here) the financial securing of the rights to this work and the pay-what-you-can-afford model means that it is partially driven by fiscal realities. If that’s the case, this work deserves a supported longer season at an established theatre and a tour. In a country that prides itself upon our social justice whakapapa, seeing something like this just may reflect to us just how much we have lost our way. 

I didn’t make the planned opening night of this on October 15. Had I, it wouldn’t have escaped me the relevance of this work and how it sits, in Aotearoa, at this time and eight years after the 2007 raids in Te Urewera saw the testing of the Terrorism Suppression Act. 

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