Tracie Bennett and John Partridge in The Code. Photo by Steve GregsonDeploying her smoker’s growl to marvellous effect, Tracie Bennett delivers an appropriately over the top portrayal of screen legend and gay icon Talullah Bankhead as she gets ever more soused on Manhattans and Martinis. We’re at the home of Billy Haines (John Partridge), one time Hollywood leading man, who placed personal happiness ahead of faking heterosexuality, despite the insistence of MGM’s studio boss Louis B Mayer that his film career was dependent upon a marriage of convenience to silence the rumour mill. The pair are dressed in readiness for an evening with director George Cukor who’ll be screening one of those long biblical epics starring Victor Mature — the prospect of which, gives rise to a multitude of caustic observations. Before they can leave however, power agent Henry Willson (Nick Blakeley) is bringing along his latest handsome protégé Chad Manford (Solomon Davy) for pre-dinner drinks. With the booze flowing, it is not long before civility begins to slip, giving way to the kind of bitter showbiz callousness which marked out the power of execs to control the studio system for their own ends.
Blakeley’s Henry is a masterclass in sadistic manipulation. Vindictive and insistent on having things play-out according to his plan and preference, he chides and cajoles Chad to comply and submit, dangling the prospect of losing his chance of fame and threatening an ignominious return to obscurity if he disobeys. The naive young wannabe has no idea he is being taught a lesson by meeting Interior Designer Haines who, a little over a decade before, had been the toast of Hollywood and a huge box office draw.
Ethan Cheek’s set and costumes are evocative of the period and the actors do their damnedest to appear at home and comfortable in their plush surroundings. Partridge’s vocal delivery occasionally loses vigour in his eagerness to play subtlety and nuance, but even in a relatively small space it is necessary to project — particularly for the age group which is most likely to buy tickets to this production.
Directed by Christopher Renshaw, Michael McKeever’s play leans into the cocktail party era where privately fey yet publicly masculine stars, were numerous. Those who played the game, enjoyed long and successful careers. But as the play asks, at what cost? With America’s cultural and performance sectors once again under attack from those who would subjugate and use its power and reach for their own ends, THE CODE represents just how far the world has progressed and more importantly, what is at stake.
Plays at Southwark Playhouse Elephant until 11th October.
