The New Real: A tense exploration on the politics of power

Throughout David Edgar’s new play The New Real at the RSC, the audience is invited to reflect deeply on the political realities of the fall of communism, to ponder the implications of historical narratives, and to grapple with the complexities of truth in a world shaped by power, ideology, and the fragile nature of democracy, all illustrated through two American political strategists and a fictional Eastern European country.

It skilfully illustrates pivotal moments through well-crafted references and powerful storytelling, that evoke both nostalgia and critical reflection on its lasting impact.

Speaking with members of the audience who clearly remember the fall of communism in the late twentieth century, the play represents this well. It skilfully illustrates pivotal moments through well-crafted references and powerful storytelling, that evoke both nostalgia and critical reflection on its lasting impact. This is all pulled together by strong performances from our leads Martina Laird and Lloyd Owen, both of whom give powerful performances throughout the near three-hour play, and seem to have chemistry with everyone they shared the stage with.

With that being said, it does feel like Edgar attempts to cover too much historical ground. From the fall of the Berlin Wall in 1989 to the Russia-Ukraine conflict in our current day and everything in between (including a notable focus on Eurovision), we do move smoothly throughout European history over the course of the play, however it does feel as though it is done at the cost of fleshing out some of the characters. The New Real is filled with interesting side characters who have compelling, and often clashing, personalities, and I can’t help but feel that if these characters were given more attention rather than visiting various historical events, the play would have felt even stronger, allowing audiences to connect more intimately with their personal struggles and journeys.

Edgar builds a noticeable political tension throughout the play well, weaving moments of conflict and intrigue that keep the crowd engaged

The New Real takes place in The Other Place theatre in Stratford-Upon-Avon, an unorthodox stage with the audience sat on either side, meaning the actors will have to move around more than usual to engage the entirety of the audience. Even if nothing is physically happening, which can be difficult in a dialogue-based play such as this, this is done very skilfully. In particular, Sergo Vares – who is performing his first play with the RSC in The New Real – and Jodie McNee both give incredible performances, taking control of each scene they are in.

Edgar builds a noticeable political tension throughout the play well, weaving moments of conflict and intrigue that keep the crowd engaged. However, this may be lost on some of the audience, as noted by various interviewed attendees, who remarked that the first half of the play was fairly slow and introductory, and it isn’t really until after the interval that the speed and energy of the production kicks in. Regardless, this compelling play draws well on significant historical moments, connecting its characters to the lasting effects of the politics of the 1980s and 1990s, like Thatcher and Reagan’s effects on the UK and US’ “rust belts” respectively, and evoking very real and raw sentiments that resonate not only among the characters, but also with the audience, creating a strong, shared sense of emotional and historical connection. Coupled with striking, very human character arcs and a tense score that underscores the drama, The New Real is a fun play, and one that urges us to think, and critically examine the world we live in today.