In the same way Joe Clark fell short of his ambitions while Prime Minister, this play does not achieve what it sets out to.
Michael Healey’s play 1979 previously ran back in 2019 at the Berkeley Street Theatre (also known as the Canadian Stage) in Toronto. Now, the political piece makes its European debut at the Finborough Theatre. The production will run until Saturday 27th January.
In the winter of 1979, Canadian Prime Minister Joe Clark awaits a crucial confidence vote that could end his term. Despite his youth and idealism, Clark is determined to govern for the entire nation, not just his party supporters. Faced with a tough decision, he is visited by colleagues, opponents, and even his wife, all offering diverse perspectives and attempting to influence him throughout the play.
On entering the theatre I knew very little about the history of Canadian politics, and even less about 1979 specifically. Upon leaving the theatre, not much had changed. Healey’s writing is unnecessarily expositional and lacks focus. The dialogue is heavy with political information, facts, figures, clashing opinions – and sure, this is to be expected from a play about politics, but there is hardly any time to breathe and take it in. It’s difficult to grasp any through-line. Projected footnotes on the back wall introduce characters, and provide even more information to offer context to busy scenes, but they become distracting. Between reams of text, some self aware jokes (‘oh god, more reading’) fall flat. With insufficient time to read some slides during on-stage action, I was torn between watching the play and reading the projected text.
The cast of three bring a vibrant energy to the stage as they endeavour to lift the script for the audience. Joseph May takes on the role of the Prime Minister, Clark. Perhaps the most naturalistic onstage, May brings to life quite an ordinary seeming man. The writing does not give him much to play with, but he is believable. Clark is confident in his decisions, a little confused at times, but resolute in achieving what he sets out to achieve for his country and Government.
Samantha Coughland and Ian Porter play multiple roles, bursting into Clark’s office in successive duologues, set apart with slight costume changes and names projected on the back wall. Both bring a bold and almost melodramatic energy to their characters, but there’s a noticeable similarity in physicality and personas for each multirole moment. Porter brings a touch of comedy as Pierre Trudeau, winking to the audience and dancing about, but there is a depth to Trudeau, an uneasiness that is somewhat foreboding. Coughlan reaches great heights as Stephen Harper, beginning startlingly shy and building into a bellowing, determined and ruthless right-wing rant.
The effort that this hard-working cast brought to their characters was impressive, but ultimately the script doesn’t achieve its ambitions.
