You would have to possess a heart of stone not to sympathise with the Old Vic's contentious debut of Joe Sutton's play, Complicit. Rumour-mongering was rife in the press (inferring that the work was shall we say not up to par) weeks before it saw the light of day. Advance notices were less than kind: gossip spoke of re-writes and flaws in the leading man's recall, scheduled curtain-ups were inexplicably early, and when the theatre's artistic director, Kevin Spacey, postponed opening night, the forecast looked grim.
       Luckily, I can report that the play's imaginative setting is compelling. Hedge fund CQS had financed a major reconfiguration of the auditorium, with a circular stage as its central, classical forum, and all-embracing 360-degree tiers sensibly this is retained and it suits the spare cast. Lucite-like, the transparent surface reveals numerous screens of rolling news (when the static scenario calls for reinforcement) complimenting its otherwise isolated, three-man cast. The proscenium's daring architectural reinvention is a suitably grandiose context for Sutton's ambitious play. Regrettably, and despite dealing with the ‘big' issues (torture, rendition and freedom of the press) the limitations of Complicit's dialogue and characterisation frequently cut dramatic endeavour down to size. Spacey's latest project has pretensions which it struggles to live up to.
       Such as it is, the action revolves round Pulitzer prize-winning journalist, Ben Kritzer, who faces a Grand Jury after writing a book purporting to expose the United States' out-sourced torture and murder of terrorists. National security has been compromised and pressure applied to reveal the (‘un-American') source. Having initially refused on grounds of personal and professional integrity, the author subsequently betrays his mole - when confronted with the prospect of jail. Richard Dreyfuss is unexpectedly assured as the shambling, ranting Ben, despite an ill-concealed (and now notorious) microphone prompt in his ear. In addition, ‘Team Ben' consists of smug lawyer, Roger - an over-expansive David Suchet - and Elizabeth McGovern's fidgety, nagging wife, Judith. Unfortunately, theatrical tension relies on much unnecessary swearing and ponderous mobile phone conversations. Repeated televising of Ben being interviewed by a real-life Andrew Marr is laid on with the subtlety of a trowel; and more damaging still, the looming threat of the Supreme Court - supposedly convened off-stage - is less out of sight, than out of mind.
       The histrionic premise of Complicit is neither fact nor fiction, which makes for uncomfortable viewing. The controversy raging before us is also dated, now that a new, avowedly reformist President Obama is at the helm. Granted, Chinese whispers may have done the play (especially its much-maligned actor) some disservice, as it was considerably better than expected - disappoiningly, that is still less than we deserve.
Caroline Kellett Fraysse