So much raucous fun, POTUS pushes all the right buttons when it comes to political incorrectness and scandal.
In short, the President’s nearest and dearest are barely hanging on by their fingertips, as it is mayhem in the White House.
I speak of his Chief of Staff Harriet (Carolyn Bock), Press Secretary Jean (Tilly Legge and secretary Stephanie (Liliana Dalton).
Photos by James Reiser
They are stonewalling the First Lady Margaret (Candy Bowers).
She is demanding to see the President, after he called her a derogatory name in front of dignitaries.
Significantly, world affairs are going to hell in a handbasket and that night, he is due to host and address a group of 200 feminists.
That is not to overlook the fact that the President, who can’t keep his zipper up, has some rear end difficulties.
Stress doesn’t cover the half of it.
Then in walks the POTUS’s sister, convicted drug trafficker Bernadette (Hannah Greenwood), wearing an ankle bracelet, looking for a Presidential pardon.
PR spinner Jean is horrified … and pleased.
But the issues don’t end there.
Wandering around the halls of power is a charming county bumpkin, Dusty (Lucy Ansell), asking to be directed to the President.
She is 18 weeks pregnant and won’t be brushed aside.
Meanwhile, a TIME magazine reporter, Chris (AYA), who is interviewing the First Lady for what is a puff piece overhears something far more juicy.
And then we hear a thud.
POTUS or Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive is mighty sharp satire.
It has been delightfully pieced together by LA-based writer Selina Fillinger.
It recognises all women who have been relegated to secondary status behind a buffoon of a man.
Further, regardless of political affiliation, it is acknowledgment that no matter the administration, idiocy is bipartisan.
POTUS is loud, frenzied and action packed, with shocks and fruity language aplenty.
Despite the pandemonium, director Marni Mount keeps a good handle on the shenanigans, as the laughs keep on coming.
And the performances are superb. All seven are so darn good in bringing the foibles of their characters to light.
They make the most of the scintillating lines they are asked to deliver, facial expressions aiding their cause.
I loved the dry humour Lucy Ansell injected into her work, along with AYA’s vitriol and Liliana Dalton’s transition from fearful to fruit loop.
The sound design by composer Rachel Lewindon is commanding (very much in keeping with the hyper nature of the piece).
There is further inspiration in Richard Vabre lighting, while I was totally sold on Sophie Woodward’s creativity in set and costume design.
Four rows of curtains on rollers are in place when you enter the theatre. Thereafter, curtains are moved aside and props wheeled in and out as required. That works a treat, with a surprise in store when the stage area is cleared of all curtaining.
The costuming is a feature also built into the script. I speak of references to turtleneck sweaters and masculine suiting (and hairdo), while Dusty’s cowboy boots and short skirt also make a statement.
One hundred minutes, including interval, POTUS or Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive is a glorious hoot.
It is on at fortyfivedownstairs until 8th March, 2025.
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