Patriots – Kingmakers’ Retribution
I entered the Ethel Barrymore Theatre with trepidation. Neither a lay student of Russian history nor especially politically savvy, the thought of a lengthy play about the rise of Vladimir Putin elicited no positive expectancy. I was mistaken. The piece is vivid, comprehensible, illuminating and entertaining. It’s also painfully relevant. Time flew by.
While Putin is the axis, playwright Peter Morgan turns a fisheye lens on oligarchs who put him in power only to have feeding hands bitten. Oligarch: A very rich business leader with a great deal of political influence who bridges economic and political power. Primary among these is “Jew behind the czar,” former math prodigy, now businessman Boris Berezovsky. (Michael Stulbarg in a Tony worthy performance.)
Luke Thallon (Roman Ambramovich), Michael Stuhlbarg (Boris Berezovsky)
We meet the wheeler dealer (literally – cars were initially part of his empire, as well as objects of bribery) juggling phone calls from a neglected daughter, a cloying mistress, and Deputy Mayor of St. Petersburg, Vladimir Putin (Will Keen- marvelous). Berezovsky wants to open a dealership at a particularly sought after location and needs permission. The low level appointee righteously refuses a bribe. We never see the “yes,” but he’s subsequently promoted to head of the Federal Security Service of The Russian Federation.
In the 1990s, Russia descends into lawlessness. The country implements privatization of state property. Berezovsky surreptitiously gains control – below market value – over state owned assets, including the country’s main television channel.
Stuhlbarg prances, whirls, and gestures (spirited, not fey), exerting a kind of cheery, hypnotic charm as the amoral Berezovsky, claiming only to want to make Russia great again. “You too can have a bigger slice of the pie,” he seems to say. That he’s obviously wealthy must prove his thinking sound. Sound familiar? A combination of sulking and ruthlessness makes observation great fun. We practically see the actor’s mind whirring.
Will Keen (Vladimir Putin), Luke Thallon (Roman Ambramovich), Michael Stuhlbarg (Boris Berezovsky)
An oligarch in the making, Roman Abramovich (Luke Thallon, whose mercurial expression appealingly reflects every emotion), approaches Berezovsky about establishing an offshore oil company. The deal is made with a handshake in exchange for 50 percent, invisibility, and no questions asked about financial withdrawals. The two then acquire controlling interest in Sibneft at a rigged auction. Both become fabulously wealthy.
Alexander Litvineko (Alex Hurt) is an idealist officer of the Russian Federal Security Service when he encounters Berezovsky. He, too, initially refuses to come onboard – as bodyguard. Ordered to assassinate the businessman, perspective changes. He takes the job. (When Putin becomes president, Litvineko and his family flee to England with his boss – only to be summarily poisoned.)
Berezovsky, Abramovich, Litvineko, and Putin all see themselves as patriots, each with his own idea of what a “free” Russia would look like. Morgan doesn’t describe separate visions. As Paul Simon wrote, “One man’s ceiling is another man’s floor.”
Will Keen (Vladimir Putin), Luke Thallon (Roman Ambramovich)
When Yeltsin (Paul Kynman) decides to retire, his replacement is chosen not by the Russian people, but rather “trusted advisors.” Intention is appointing a puppet to retain his influence and their interests. The president is portrayed as fussed over and obtuse. By then, six prime ministers had successively tried out for the job with recently advanced Vladimir Putin left standing.
The “apparatchik” (blindly devoted) seemed loyal and malleable. He was even, at first, uncomfortable and rather awed by appointment to the presidency. We observe him disconcerted at the size and opulence of the Kremlin, surprised by alacrity with which his orders are carried out. Over the course of the play, the character inflates like a Macy’s balloon until, in sports camouflage and Ray-Bans, Putin resembles the politician we know.
Secure in his choice, Berezovsky goes off to fish only to be telephoned by Abramovich. Putin has declared any businessman who engages in political interference will be prosecuted. Berezovsky’s “creature” has turned on him. Abramovich will follow suit. Both are helplessly confronted.
Will Keen (Vladimir Putin)
Peter Morgan bookends a glimpse of one of the most vilified leaders in the world with folksy singing and balalaikas. The real Russia? Aided by circumstance, deception, ego, greed and misjudgment of those around them, dictators embed themselves in government only to destroy championed democracy. Watch out for the oligarchs.
Director Rupert Goold offers eminently human characters in contrast to the sweep of history. The stage is deftly employed. Pacing allows for thought.
Movement (Polly Baker) is marvelous. Berezovsky, never still, talks with his whole body. Stuhlbarg must train like an athlete. Putin walks like John Wayne. His fisted right hand has a tremor. He tries on gestures in front of a mirror. Abramovich starts deferentially cowed, then visually straightens to the upper hand.
Dialect Coach Kate Wilson enhances verisimilitude with odd, yet credible accents.
Miriam Buether’s concept Set is a bit odd. It works spatially. A heavy, oversized door is effective as are well place stairs. What appears to be a disco bar is apparently a conference table. Though the curved brick walled background is good looking it doesn’t equate with time or place.
Sound Designer Adam Cork does an unnerving job with explosives.
Video by Ash J. Woodward is effective without being overwhelming.
Photos by Matthew Murphy
Opening: Michael Stuhlbarg as Boris Berezovsky
Patriots by Peter Morgan
Directed by Rupert Goold
Ethel Barrymore Theatre
243 West 47th Street
Read American Oligarchs: The Kushners, the Trumps and The Marriage of Money and Power by Andrea Bernstein
