★★★★☆ This compelling new work by J. T. Rogers, the renowned playwright behind “Oslo,” delves into the notorious News International phone hacking scandal that shook Britain.
Toby Stephens in Corruption. Photo credit: T. Charles Erickson
Being an avid follower of current events can be quite demanding. It requires significant time and effort to navigate through intricate developments that unfold over extended periods. An accessible alternative, if you prefer a more condensed experience, is to witness a production by the talented J.T. Rogers, known for his adeptness at transforming intricate real-life narratives of historical significance into captivating theatrical pieces. From exploring the power struggles in Afghanistan during the 1980s in Blood and Gifts, to dramatizing the miraculous diplomatic negotiations that led to the Arab-Israeli Peace Accord in Oslo, Rogers has now masterfully crafted Corruption, premiering at Lincoln Center Theater, which breathes life into the riveting saga of the News International phone hacking scandal that transpired between 2010 and 2011 in Britain. Who needs fictional escapades when reality itself is brimming with intrigue?
Adapted from the book Dial M for Murdoch: News Corporation and the Corruption of Britain by Tom Watson and Martin Hickman, this ambitious production delves into the misconduct orchestrated by the News of the World newspaper, owned by media mogul Rupert Murdoch, as it systematically intruded into the privacy of numerous individuals, including celebrities, politicians, athletes, and even victims of crimes and their families. Leading the charge to expose these illicit activities are Member of Parliament Watson (superbly portrayed by Toby Stephens) and a group of tenacious journalists, such as Hickman (brought to life by Sanjit De Silva) and Nick Davies (enacted by T. Ryder Smith) from The Guardian.
The antagonists in this narrative, who are plentiful, encompass figures like Rebekah Brooks (depicted by Saffron Burrows in her New York stage debut), the fiery-haired chief executive of News International, and Andy Coulson (played by Seth Numrich), the former editor of News of the World who later served as Prime Minister David Cameron’s communications director before resigning due to the scandal.
While Corruption may not achieve the same level of success as Oslo due to its intricate and sprawling storyline with a multitude of characters, most of whom, aside from Stephens and Burrows, assume multiple roles, it remains engaging. It can be challenging to keep track of the various characters without a guide, and those not fully attentive may struggle to follow along. However, even with just a basic understanding of the actual events, the play captivates audiences through the playwright’s sharp and informative dialogue that propels the narrative forward.
Moreover, the play interweaves moments of humor, such as a witty exchange between News International’s eloquent lawyer (skillfully portrayed by Dylan Baker, who also embodies a dubious private investigator) and James Murdoch (once again played by Numrich), adding levity amidst the tension. It also delves into disturbing realities, like when a journalist callously remarks to a shocked Watson that the scandal of hacking into the phones of a murdered girl’s parents isn’t severe enough to alter the prevailing narrative.
Director Bartlett Sher, known for helming Rogers’ previous works at Lincoln Center, adeptly navigates the complex plot, aided by set designer Michael Yeargan’s innovative circular row of monitors that display crucial news updates and projections, enhancing the audience’s understanding. The ensemble cast of thirteen, including seasoned actors like K. Todd Freeman, Michael Siberry, and John Behlmann, deliver stellar performances, skillfully delineating their various roles with precision.
Despite the events unfolding over a decade ago, Corruption remains alarmingly pertinent, especially in light of the misleading coverage by Fox News during the 2020 presidential election and beyond. The play concludes on a somewhat somber note, underscoring the unfortunate reality that justice is not always served in the face of villainy.