A Review of Moira Buffini’s play at the Oxford Playhouse

Is there a political figure who divides opinions to the extend of past prime minister Margaret Thatcher? Certainly, attending a play on the topic of Britain’s first female prime minister felt like entering a theatre filled with the most extreme viewpoints on the topic. Buffini’s approach is one of humour and a decidedly critical assessment of the politician, which had the politics student next to much proclaiming that there very little merit to the material. However, for a non-politics student it was an interesting ride through a tumultuous period in recent British history. Handbagged tells the behind closed doors story of the relationship between the late queen and Thatcher, outlining the journey of the latter’s tenure as prime minister. Simple enough, yes, but in actually fact there are two Elizabeths and two Margarets upon that stage. Told from both the perspectives of the present tense and in hindsight, the performance enables the audience to gain multiple viewpoints on the same situation.

This play could easily have been either farcical or a heavy handed political commentary; however, it is instead a riot of humour while still touching upon the key moments. One of the key aspects that allows the copious opportunities for humour are the older characters regularly butting in with their own versions of events. Morag Cross’s older Thatcher and Sarah Moyle’s ‘Q’ circle the action, assessing the tale that is being told and adding virtual footnotes to the proceedings. This throws into light ideas of unreliable narratives and highlights the genius of Buffini’s writing, for how can anyone truly know the intricacies of this relationship now that both parties are dead?

All four of the women playing these national leaders are strong actors, bringing very familiar characters to life with grace and enthusiasm. However, while may be a story about women, it is Cassius Konneh’s performance that steals the show. Multi-rolling a number of characters, Konneh and Dennis Herdman provide a circus of famous faces from the period and at times some helpful historical context for those of us less familiar with the politics. Through some wonderful moments of fourth wall breaking Konneh adds a more youthful and racially aware perspective to the unfolding events upon the stage, alongside some hilariously petulant actor moments.

There is no denying that this is an excellent piece of playwriting, the transitions between time periods being handled excellently and the entire narrative coming full circle. We end with the same lines we began with, as an old prime minister takes their leave and another takes their place. The whole performance works well as a cohesive whole, with the exception of the somewhat out of the blue musical transitions in which the queens and Thatchers sing a few bars of eighties pop music. This concept is in keeping with the fun and comedic atmosphere of the show as a whole, but for me feels a little out of place.

On the whole this is a strong performance, which carries a politically dividing topic with a lightness and humour that hopefully allows those who are do not agree with the slant to nevertheless enjoy themselves. It is a unique and very effective idea and a great night at the theatre. And we have to end with a shoutout to that stage! With a hovering British coin atop the pile of coins that formed the performance space, this is one of the most unique set designs I have seen in a while. Hats off to designer Katie Lias!