Nothing about this play is subtle, from the almost neon IKEA-advert set, to the bright strobe lighting which segues one act into another, Public Enemy doesn’t try to pretend. Translated from Ibsen’s original 1882 play, the drama here surrounds one man’s struggle to save a town from tarnish and embarrassment, whilst also potentially crippling it beyond repair.

Nick Fletcher plays an unusually grounded Dr. Stockmann, intelligent and certain that his research is correct, in the centre of what would, in modern times, be a scandal plastered across every newspaper in Britain. Realistic and concerned, Stockmann quickly wins over the town until the Mayor (a gruff and uncompromising Darrell D’Silva) presents a more sinister, threatening counter-argument which seemingly changes everything. Throw in Bryan Dick as a flip-flopping journalist and Niall Ashdown as the hilariously deadpan Aslaksen, and this could have become a farce which mirrors the state of current affairs.

Instead, we are well met with an entertaining commentary on our political state as it stands, which is also vibrant, fiery and razor-sharp. Ibsen’s words resonate and remain within the mind beyond the hour-and-45 minutes of the performance. Stockmann stands up for himself and the truth, and the play challenges, quite directly, its audience to do the same, asking what is right, what is wrong, and who has the governance to say so. We see the beliefs of the majority challenged, and watch how the individual, no matter how strong their ideals, can be swayed by personal advancement.

The tension ratchets up a notch with every act that plays out, and, in a constant state of flux, the morality of the play moves in a realistic – and somewhat concerning – manner. Left with little to do but watch as the town slowly turns against him, Fletcher’s Dr. Stockmann carries the weight of the world upon his shoulders, and, most importantly, never resigns himself to failure.

Act Four is where Fletcher really comes into his own, his character finally cracking under pressure and firing on all cylinders, straight into the audience. At no point, however, does either Stockmann as a character or Fletcher as his life force, tip over into a madness that would make him ridiculous. Though he becomes the public enemy, Stockmann retains his truth and dignity, and perhaps that is what is important here – knowing the difference between standing up for your beliefs and crossing the line into something more dangerous.

Harrower’s new adaptation of Public Enemy is strong, intelligent and truly hits its mark. The cast is spot on, and nothing falls by the wayside. A must see no matter which side you fall on, the public, or the Public Enemy.

Public Enemy is playing at The Young Vic Theatre until the 8 June 2013. For more information and tickets, see the Young Vic website.

A chalkboard, a box of chalks, two overhead projectors and a laptop. In All That Is Wrong, these elements create an overwhelming piece of theatre that leaves an audience thinking about the power they possess in this huge world.

The play starts with Koba Ryckewaert writing about her life, but we slowly see how she connects her experiences to much bigger issues such as politics, money and war. With the help of her guide, played by Zach Hatch, she fills up a whole board with today’s problems and with the guilt of having little power to change them. Shocking news reports and heavy bass music (added by sound designer Jasper Taelemans) overlap each other, inspiring Ryckewaert with new words to add to her collection. Now and then Ryckewaert will address a line to the audience, with phrases such as “I write not to forget” and “I can’t understand everything”. Watching her write out all her thoughts in a mind map of terror, erasing and replacing words, left me considering how our minds all think the same – do we all feel the same guilt towards our helplessness? Am I the only one worrying about what I can’t change? Can I do more to help?

Rob Van Ertvelde’s simple lighting, set and use of projection helps portray the realism and artistry of the piece. The use of chalkboards and overhead projectors creates an almost classroom-like atmosphere, where Ryckewaert and Hatch are the teachers and the audience are the students. The bright lights shining on Ryckewaert make it feel almost like an interrogation, with her eyes fixed on all of the audience. Seeing everything crushed onto one board was powerful enough, but eventually Hatch joins in, adding words and replacing chalk words with heavy metal letters, as if Ryckewaert’s planning and thought tracking should be made into something more durable. Once their piece of work is done, they hoist the board up vertically where the audience get to see the finished piece. The metal letters fall to Ryckewaert’s feet, leaving an overwhelming effect on the audience. Immediately Ryckewaert starts to carry on her mind map on the floor, starting with “I” in the middle of the floor, like she did before. This time however she adds a few positive points, showing that despite the feeling of powerlessness we all have, together we can do a little more to raise awareness and put an end to these worldwide problems.

The performers and director Alexander Devriendt have successfully created a piece of theatre that will be unforgettable, thought-provoking and visually impressive. It is an engaging hour of harsh reality mixed with a glimmer of hope, with Ryckewaert’s simple message – “I will write”.

All That Is Wrong is playing at the Unicorn Theatre until 9 May. For more information and tickets, see the Unicorn Theatre website.

It is inevitable that Coalition will be compared to political comedy powerhouse The Thick Of It. This, unfortunately, does Coalition no favours. Where TTOI is strident and brutal in its deconstruction of the Westminster political machine, Coalition meanders eventually to its long drawn out and plodding conclusion.

The year is 2015. A general election looms large on the political horizon and Matt Cooper (played with frantic energy by Thom Tuck) is the Lib Dem leader and Deputy Prime Minister of a tired and squabbling coalition government. Cooper is both a weary and manic figure, desperately attempting, and ultimately failing, to keep the Lib Dems from self-destruction. He sees his MPs desert literally from left, right and centre, all the while facing accusations of putting (very limited) power before principle.

Of the cast, Jo Caulfield impresses most as the frustrated Lib Dem Chief Whip Angela Hornby, whilst Phill Jupitus plays to the gallery with his portrayal of the Machiavellian Sir Francis Whitford MP, a dandified and thoroughly hammed up Conservative minister of the old-school Tory mould, who appears to be entirely “made of gout” according to Cooper. The rest of the company are routine in this stock political character box-ticking exercise: the clueless political-advisor-turned-MP, the northern loose cannon, the secretary run ragged, the aloof yet suave Prime Minister, etcetera etcetera.

This is writers Robert Khan and Tom Salinsky’s debut play, and it is pretty evident from the outset. There is a naivety and confusion about their work, which provides it with a dull whimper rather than the loud bang so craved by the audience. Why, for instance, when the Lib Dems, the Conservatives and other real life political events are referred to so explicitly in the text, are the party leaders fictional? Why constantly play for cheap laughs, laughs which are laboured rather than appearing effortless or organic, instead of exploring further character development? An example of this was the nervous breakdown Cooper was clearly having on stage; why not pause for poignancy and allow for some sympathy, instead of steamrolling through to the next set-up scene? It is also puzzling that whilst Coalition serves to critique the Westminster bubble, this appears to be where the production’s key audience demographic stems from.

It is perhaps apt that Coalition is dedicated to Nick Clegg, “without whom this would have been inconceivable”, for just like the real life Lib Dem leader, Coalition, which starts off brightly with the best intentions and promising to deliver so much, ultimately ends up a bit of a disappointment.

Coalition is playing at the Pleasance Theatre until 10 March.

We love a bit of passionate political theatre here at AYT which is why we have teamed up with the Royal Court to offer you tickets to If You Don’t Let Us Dream, We Won’t Let You Sleep on Friday 15 February. See below to learn a bit more about the show or scroll down to see how to enter.

If You Don’t Let Us Dream, We Won’t Let You Sleep
by Anders Lustgarten

“I believe that open markets and free enterprise are the best imaginable force for improving human wealth and happiness. And I would go further: where they work properly, they can actually promote morality.”
David Cameron, Jan 2012

As the financial world issues its shock treatment, what happens when the City’s agenda is taken to its ultimate conclusion?

Anders Lustgarten’s passionately argued new play explores the ethos of austerity and offers an alternative.

15 February – 9 March
£28, £20, £12; £8 under 26 (£10 Mondays).
www.royalcourttheatre.com

Enter The Competition:
Fill in the form below and submit it by 4.00pm on Wednesday 13 February. There are three pairs of tickets available to be won.