An immersive and intimate look at the career of a controversial figure in American legal history

The European premiere of Kunstler brings a controversial American figure to the UK stage; Jeff McCarthy plays real-life lawyer William Kunstler, who delivers an imagined university lecture, dramatised by playwright Jeffrey Sweet. Nykila Norman plays Kerry, the fictional law student hosting Kunstler’s lecture who is torn between apologising for and sympathising with the protesters outside the hall.

As you enter the theatre to the striking sight of a classroom trashed by these same protesters, the stark setting lays the scene for an intimate exploration of William Kunstler’s history as ‘the most hated lawyer in America.’ Over the next 90 minutes, the audience plays the role of Kunstler’s student audience. This speech is bookended with private conversations between student Kerry and the infamous lawyer, as he reminisces on personal failings and she challenges his professional choices.

In this two-character piece, McCarthy immerses himself into Kunstler’s personality, bringing a theatrical showmanship which allows him to channel Kunstler’s flair for storytelling and persuasion. Norman as Kerry offers a vital counterpoint to Kunstler’s larger-than-life energy. Even for those unfamiliar with Kunstler as a historical figure, McCarthy’s portrayal reflects painstaking attention to the mannerisms of a memorable figure. As Kunstler narrates several landmark cases, audiences are transported into nail-biting battles between what is legal and what is right (creating striking resonances with the student protests in current headlines). Kunstler appears as the reluctantly idealistic champion of some of the most high-profile civil rights cases of the late 20th century. Will Severin’s sound design offers atmospheric accompaniment to these flashbacks. In between these moments, Kunstler often falters, repeatedly offering self-deprecating jokes as he adjusts his glasses and absentmindedly rumpled suit; Elivia Bovenzi’s understated but effective costume design shines here.

Playwright Sweet does not shy away from painting Kunstler as a disappointing figure. Kerry’s questioning of Kunstler’s methods and choice of clients may reflect the real feelings of many, as the American public watched him move from defending activists like the Freedom Riders to markedly less sympathetic clients such as organised crime leader John Gotti. Even Kunstler’s personal presentation is problematic at times as he makes offhandedly offensive comments. As a young black woman tasked with introducing a speaker whom she does not support, Kerry struggles between her personal frustrations and her professional obligations. Norman makes good use of her emotive expressions to make Kerry’s feelings clear, even as she struggles to get a word in edgewise when Kunstler is on a roll. However, this conflict truly kicks into gear when Kerry and Kunstler face off in the third ‘leg’ of the piece; if this interaction were expanded, the piece could explore some of Kunstler’s more controversial choices in greater depth. Kerry’s interrogation prompts both Kunstler and the audience to reflect on whether the end always justifies the means in social justice cases, and asks how many flaws can be forgiven in someone working towards (mostly) good causes.

At its core, this show feels like a love letter to an admittedly flawed hero; shifting more of the dramatic power into Kerry’s hands could transform it into a more balanced debate between the two characters’ standpoints. Nonetheless, this is still a powerfully compelling piece which brings viewers to the edge of their seats and sends them away eager to learn more about both Kunstler and the landmark movements that defined his career.

Kunstler runs at the White Bear Theatre in Kennington until May 18th, with performances Tuesday to Saturday at 7:30 PM.