Based on Nicky Hager’s book – which exposed "file after file of inner-circle National Party emails that had been sensationally passed to him"* – and adapted for stage by Dean Parker, much has already been written about this piece of ‘documentary theatre’, after the play debuted in Wellington last year. [Click here for BATS and Centrepoint reviews]

In short: if you have even a passing interest in the nature of our democratic process, and how easily it can be manipulated, The Hollow Men is a must see.

As the play examines the politicking, campaigning and speechmaking of Don Brash’s advisors in the lead up to the 2005 election, understandably, on occasion, Parker’s script is a tad dense and wordy.

However, in the hands of director Jonathon Hendry, his extremely capable, entertaining cast** and his talented designers, the play’s colourful exposure of a deceptive campaign strategy, that side-lined substance and policy, will resonate far beyond these years of misguided electioneering, that National supporters would prefer we forget.

I say "years" by way of reference to 2008 as well as 2005. The Hollow Men gives strategic reference to John Key’s involvement, in a way that suggests that Parker predicts that this year’s effort will see the same insincere sincerity and spin, from the same movers and shakers, so easily transferred to their new guy.

Each cast member gives a stand out performance.

Arthur Meek as young advisor Brian Sinclair is speedy, manic and uber-confident in his delivery – the perfect antithesis to Stephen Papp’s superb portrayal of a bewildered Don Brash. Unable to get a word in, Brash is often distracted, looking at his cell phone, as if he is trying to work out how to text.

Papps skilfully appears to move in slow motion, as his team swiftly dip and dive around him, pulling strings, making rapid changes and giving him helpful suggestions such as "rehearse a few smiles and jokes".

Parker gives himself plenty of comic licence, as he exposes how ineffectual Brash was as a leader. From the silent dust-buster scene; to Brash’s exclamation that, "My wife’s from Singapore!" as his trump card to close the gender gap in the polls; to his directionless, – "Well!" in response to the news that the perception is that the National Party is a ‘boys club’, Parker portrays Brash as a bumbling incipient pensioner, who is essentially sidelined in the game he’s supposed to be leading.

Michael Keir Morrissey, playing Peter Keenan, Brash’s chief speechwriter, is the play’s narrator. Morrissey relishes the opportunity to not only provide us with the perceived voice of reason (or explanation), but also deliver some of Parker’s most witty political commentary, such as "Nothing corrupts like the lack of power", and "Don, you have to get better at not answering questions".

Lyndee-Jane Rutherford appears as several pivotal characters, providing comic relief after passages of concentrated political detail. The versatile Rutherford is particularly delicious as Diane Foreman, giving her rich, strangulated vowel sounds; yet gives serious resonance playing an exasperated Katherine Rich, tending her resignation.

Another stand out performance is Adam Gardiner. He steals the show as American political strategist Dick Allen; bellowing our National Anthem, in both languages, hand on heart, alongside a meek Brash, lost for words. As Phil Goff, he devours Brash’s famous ‘gone by lunch time’ comments on our nuclear policy, in the House. He says so little, yet portrays so much, playing Murray ("It’s A Game") McCully.

Sam Snedden gives a consistent performance as Mathew Hooton, in particular in the build up to National’s big "One Nation" speech on race relations in Orewa and later, as he explains with a mix of blunt pragmatism and guile that Brash should meet, hongi and ‘engage’ with Māori constituents.

Brian King’s award winning set of neat scaffolding, which at some stage during the play frames each character, is suitably see-through, and … hollow. Symmetrical rubbish bins, placed to the left and right, provide a target for throwaway campaign speeches, each paper policy screwed up before they are tossed. Lines of quick-fix disposable coffee cups reinforce King’s theme.

Director Hendry strategically places Brash’s advisors so they have their man in their sights at all times. Like Big Brother, they are always looking on, watching every move. Except for the moment when Brash tells the truth, at which point, the team’s scatters.

Lighting Design by Jennifer Lal not only compliments King’s set very well; throughout the night, pivotal action is highlighted easily.

Upbeat bursts of music between scenes by Sound Designer Andrew McMillan, with appropriate lyrics such as "I don’t know where I’m going to" give a jolt of anarchy to the seemingly smooth political operations.

Costume designer Judith Crozier and wardrobe assistant Estelle Macdonald, have the National Party men suitably attired, looking slick, neat and tidy at all times. Similarly, Rutherford’s numerous costumes are each bang on the money.

From the top of the play, with its whirlwind "History Of How The National Party Lost Its Way 101", to the outing of Don Brash, and the secret meeting between John Key and members of the Brethren Party on the eve of the election, The Hollow Men leaves you with the strong impression that we had a lucky escape by not electing these men to power in 2005.
– – – – – – – – – – – – – – – – – – – –
* From Dean Parker’s programme notes
** The Auckland actors are the same as they were for the Wellington and Palmerton North seasons, with one exception – Adam Gardiner replaces Will Harris.

Copyright © in the review belongs to the reviewer

Nothing fades faster than memories of a politician who came second, and three years on from Don Brash’s ill-fated tilt for power it is strange to be reminded of issues that once blazed across front pages and inspired breathless TV commentaries.

Dean Parker’s sharply scripted adaptation of Nicky Hager’s book presents the behind-the-scenes story of the 2005 election that was disclosed in a bundle of leaked emails that expose the shadowy underbelly of the National Party’s campaign. [More]  

Copyright © in the review belongs to the reviewer