Donald Trump (Zach Tomasovic) sits in the Oval Office. His desk is smaller than usual. But it’s also better, because this desk has two big buttons: the first brings diet coke, the second nukes the Russians. In this near-futuristic production, we’re invited in to witness the private conversations between the President of the United States of America and those closest to him, with multi-rolling from Nate McLeod to play all the other characters.

Tomasovic wears the yellow wig and the long red tie we all love to hate. He disturbingly seduces his lips around the dialogue, imitating Trump’s own voice with, at times, a sickening – and entirely appropriate – level of accuracy. McLeod performs as a multitude of characters; as Jared, moving with an erratic eagerness, completely opposing this with the stern fierceness of Melania. When Mike Pence is introduced to the scene, he enters and walks around like an angry bear. His version of Kellyanne Conway is the absolute highlight, menacingly twitching during a television interview as she’s told live on air that Trump has essentially shot himself in the foot, nervously failing to cover up his consecutive blunders.


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The script is filled with pun and innuendo, Trump openly explaining ‘I want all my holes to be ready for Putin’, whilst obviously talking about playing golf with the Russian president. There’s talk of the time they shared the hot tub together and all that was needed was one finger…to turn it on, presumably. There’s even a Donald Trump hand puppet, with a selection of fist-up-arse jokes that probably don’t need too much explaining. Putin helps Trump with his golf put, bending over him/into him with Trump later thanking him for the tip.

At times, the pace dwindles. Dialogue isn’t always as biting as it could be and the silence that fills the space towards a final twist in the plot strips the show of some of its momentum.  Blackouts aren’t too much of a nuisance (and are perhaps necessary for some of the costume changes) but it still feels like the play could be a bit more snappy. With the various accents that McLeod puts on, he has the occasional tenancy of sucking in his volume a bit, reducing the theatricality in a show which relies on being theatrical.

The show is entertaining, the jokes are funny and the references to the current political mess of a climate are what gives this show its comical spark. The homoeroticism just about saves itself from becoming tedious and, although it could seem a little out of place, the moments of audience interaction keeps the show light-hearted and easy to watch.