I knew little about this play, having seen neither of the films, but I anticipated a fast-paced two-hander between interviewer and interviewee, filled with sharp dialogue, quick-witted quips, and moments of gotcha and counter-gotcha.
As the performance unfolded, I was drawn to the premise: seasoned political journalist Pierre (Robert Sean Leonard), on the eve of a vice-presidential impeachment, is tasked with writing a puff piece about celebrity influencer Katya (Paten Hughes). He disrespects her; she’s indifferent to him, yet there’s a hint they might just help each other. With millions of followers, she seeks to reclaim her narrative; he could use the extra publicity to reignite his waning star.
The writing sparkled at times—my favourite line being the journalist’s mouth described as tasting of “scotch and failure”—with some witty ripostes that landed well. The staging was also clever, using the apartment’s brickwork as a projection screen in a subtle, effective way. However, the dynamic soon felt one-sided. The cat-and-mouse game, where it’s unclear who holds the upper hand, lost its ambiguity almost immediately. Katya clearly dominated, while Pierre barely attempted to probe. At times, the actors found a rhythm, but it often turned clunky and disjointed.
The characters lacked authenticity, making it hard to care. We get glimpses of their deeper selves, but they feel unconvincing, leaving little to invest in. Whilst the play touches on relevant themes, like female agency in an OnlyFans-adjacent context, it doesn’t uncover or debate anything particularly fresh. Clear lessons emerge: never underestimate your opponent; never assume, lest you make an arse of yourself; always come prepared and do your homework. Yet, when the play ended, I was left wondering—what was its true message? Perhaps there wasn’t one.
Still, it prompted reflection on evidence in the digital age, especially in an AI-driven world. Katya and Pierre couldn’t be further apart in how they gather information. The days when a photograph or audio tape sufficed as proof are gone. I recalled Dave Eggers’ The Circle and its chilling vision of radical transparency, an interesting lens on exposing private actions. Ultimately, this play leaves you with one lingering thought: no video, however convincing, can be assumed authentic.