Rotus: Receptionist of the United States Brings a timely dose of satire to London's stage scene.
This irreverent one-woman show follows Chastity Quirke, an Irish-born comedian playing a sorority girl turned White House receptionist working for President Ronald Drumpf. In a scathing critique of Trumpian America, Douglas skillfully embodies the complexities of Maga women - a breed she's both fascinated by and determined to subvert.
As Chastity navigates her role as window dressing for the administration, Douglas effortlessly shifts between personas, from the lovably cringeworthy Drumpf's men to the sprightly, coquettish female colleagues. Director Fiona Kingwill's masterful guidance allows each character to shine in their own unique way, even within a sparse set that feels designed to adapt to Chastity's various roles.
The show's satire is biting at first, with Douglas sending up the deeply ingrained sexism and misogyny of Maga America. But as it hurtles towards its climax, the gags begin to feel less sharp-edged and the jokes more obvious. A take on Martin Niemöller's poem "First They Came" falls flat, reducing what could have been a powerful commentary into a shallow remark.
Despite this, there's still much to appreciate in Rotus. Douglas has nailed the quintessential qualities of Maga women - their desperation to be beautiful and to wield power. And while the show's conclusion feels abrupt and tense, it serves as a potent reminder that satire can be both timely and thought-provoking. As politics continues to dominate headlines in London, Rotus is a welcome addition to the city's comedy scene, offering a unique perspective on America's increasingly divisive cultural landscape.
This irreverent one-woman show follows Chastity Quirke, an Irish-born comedian playing a sorority girl turned White House receptionist working for President Ronald Drumpf. In a scathing critique of Trumpian America, Douglas skillfully embodies the complexities of Maga women - a breed she's both fascinated by and determined to subvert.
As Chastity navigates her role as window dressing for the administration, Douglas effortlessly shifts between personas, from the lovably cringeworthy Drumpf's men to the sprightly, coquettish female colleagues. Director Fiona Kingwill's masterful guidance allows each character to shine in their own unique way, even within a sparse set that feels designed to adapt to Chastity's various roles.
The show's satire is biting at first, with Douglas sending up the deeply ingrained sexism and misogyny of Maga America. But as it hurtles towards its climax, the gags begin to feel less sharp-edged and the jokes more obvious. A take on Martin Niemöller's poem "First They Came" falls flat, reducing what could have been a powerful commentary into a shallow remark.
Despite this, there's still much to appreciate in Rotus. Douglas has nailed the quintessential qualities of Maga women - their desperation to be beautiful and to wield power. And while the show's conclusion feels abrupt and tense, it serves as a potent reminder that satire can be both timely and thought-provoking. As politics continues to dominate headlines in London, Rotus is a welcome addition to the city's comedy scene, offering a unique perspective on America's increasingly divisive cultural landscape.