Review: The Sword of Alex, White Bear - power and violence overshadows identity debate
22/09/2018
Meaningful debate, clever thought and persuasiveness get overshadowed by ego manifested as sneering, sarcasm and physical violence.
The Sword of Alex. Photo: Valeria Coizza
Power and identity are at the heart of Rib Davis' play The Sword of Alex.
A confrontation between leader Antonio (Patrick Regis) and Karl (DK Ugonna), one of his ministers who is trying to get independence for the region of Nikal, interweaves with scenes of their own domestic problems.
Antonio's mistress Calantha (Kate Terence) wants to leave him while Karl's wife Gina (Georgia Winters) has similar plans.
The confrontation between the two leaders occurs during a ceasefire when they meet to try and persuade their opponent to back down from hostilities and violence.
Are ego and aggression the problem?
Antonio is arrogant, dismissive, sarcastic and grows aggressive easily. Karl, by comparison, has the demeanour of an underdog but has more fight than first appears.
The Sword of Alex. Photo: Valeria Coizza
In between debating who has the most deserving cause and what is best for the country/Nikal, they discuss their favourite whiskies and football - moments of calm amid a storm that increasingly feels about power and saving face rather than the greater good.
Toxic masculinity drowns the tension
Which is part of the problem with the play.
Antonio's behaviour veers towards toxic masculinity and in making him so aggressive it feels like an unnecessary device to create drama rather than letting the tension build in the negotiation.
In the end, it drowns out the nuances of their discussion.
Meaningful debate, clever thought and persuasiveness get overshadowed by ego manifested as sneering, sarcasm and physical violence.
Possessiveness adds to the problem
The domestic drama adds to the problem. Neither Antonio or Karl conduct themselves very well - to put it mildly - displaying a possessiveness towards their partners that had me willing the women to run away, and quick.
Any surprises in The Sword of Alex come from violent acts rather than revelations but I don't think that is the play it sets out to be.
It feels like a lesson in how ego corrupts power rather than an exploration of identity and negotiation.
I'm giving it ⭐️⭐️⭐️. And you can see it at the White Bear Theatre in Kennington until 6 October.
***
Other stuff you might like:
Fringe theatre: Hear Me Howl, Old Red Lion - a pulsing drum of a play exploring female stereotypes.
West End: Foxfinder Ambassadors Theatre - signs and symbols but lacking in thrills.
From the archive: Phoebe Waller-Bridge's Fleabag, Soho Theatre (yep I saw the original stage version).