Written by former journalist Mark Jagasia, the Arcola theatre’s production of Clarion received much critical acclaim during its first performances in April 2015. In returning to its stage this October it has proved itself yet again to be a relentlessly funny dark satire on the state of the British press. Focusing on the Daily Clarion, a far right nationalistic British tabloid paper with a dedicated immigration editor, the show stirs up important questions about the level of xenophobia in the press without feeling preachy.

Jagasia’s script is witty, sharp and unstoppable in its occasionally shocking dissection of the paper’s immorality. As a former showbiz editor at the Daily Express, it’s fascinating to wonder exactly how much of the plot is based (albeit loosely) on Jagasia’s real life experiences at a paper so apparently similar to the Daily Clarion. The audiences watches as sensationalist headlines emerge in a whirlwind of scaremongering; and, as the play comes to its end, we discover whether it’s possible to take the moral high ground whilst working for a paper of the Daily Clarion’s calibre.

Additionally clever in the construction of Jagasia’s script is the focus on the creation of well-crafted stereotypes; Clarion has almost every base covered from the delusional editor to the devoutly religious chief executive and the infuriatingly keen journalist on work experience. It could become tiresome, but the careful way in which Jagasia deals with each individual character creates an almost relatable workplace environment as audience members spot elements of people they know in the Daily Clarion’s journalists.

Working in harmony with the first-rate script are the fantastic cast. Led by three time Olivier award-winner Clare Higgins as the formidable Verity, all members give their characters dimension even in their most unlikeable times. Greg Hicks is riotous as editor Morris who is presented almost like a fascist chuckle brother who gradually travels further into insanity as the play reaches its climax. Laura Smithers shines also as the dim but determined work experience journalist Pritti – who ultimately ends up just as bad as the rest of them – but still seems to keep the audience on her side.

Clarion’s staging is also enjoyable, featuring an overbearing ‘The Daily Clarion’ sign glowing a vicious red above the stage. Anthony Lamble’s set itself almost seems to resemble a newspaper, including a large upper space where a headline might fit and three columns for imaginary text. The reality is that this turns into the offices of The Daily Clarion, which turn into different rooms simply and effectively through the use of additional company members. Dressed as journalists, they transform the set in time with patriotic marching music which sustains the nationalistic illusion of the paper even during scene changes.

An unmissable and intelligent satire that pulls no punches, the Arcola’s production of Clarion is back with a bang.

Clarion is playing the Arcola Theatre until 14 November. For more information and tickets, see the Arcola Theatre website.  Photo by Simon Annand.