Do you remember that rather delicious moment when the students at Brunel University walked out of a meeting when Katie Hopkins got up to speak? That was a perfect way of allowing “free speech” whilst showing one’s contempt for the speaker at the same time. Paul Grellong’s Power of Sail, first seen in the US in 2019, and now making its UK debut, centres on Charles Nichols, a Harvard professor who wants to invite a Holocaust-denying white nationalist to a debate at that illustrious university, thereby upholding the fine tradition of freedom of speech, but then intends to destroy him in argument and make him look like the pathetic wretch he is.

It’s pretty much a given that freedom of speech is a supremely important right. Equally, with free speech comes responsibility. For example, I could say that Power of Sail is a load of old tosh (it isn’t) and then Mr Grellong could come back at me and say that I don’t know my luff from my leech, and that’s all perfectly acceptable. However when it comes to hate-based politics, those rights become somewhat blurred. Certainly Professor Nichols’ students are up in arms against his proposal. So is the Dean, who fears the repercussions. So is his young protégé Professor Forrest. But Nichols is determined to see this through; freedom of speech must have its way. A risky proposal for – on the face of it – such a virtuous objective.

Mr Grellong has structured the play in six scenes, rather like a time version of a boomerang. The first three scenes take us through mid-morning, mid-afternoon and late evening on the same day. Scene Four takes place the following morning and ends with a big revelation that surprises and shocks us. Scenes Five and Six double back on themselves, showing us what happened earlier the previous evening and finally earlier that afternoon. This may sound like a bizarre way of going about things, but the structure does enable missing pieces of the jigsaw to be fitted in, so that by the end of the play we have a much fuller understanding of the motivations of all the characters that otherwise we would have missed if we had just seen the events in linear time. However, a side effect of this structure is that the play ends with a whimper more than a bang. It’s a well-intentioned, character-driven whimper that necessarily makes sense of the whole story; but it’s a whimper nonetheless.

The programme tells us that this production is the result of a play that was written years ago, left in a drawer and then more recently revisited, stripped back, with scenes and characters removed, to leave a sparser and hopefully more truthful and hard-hitting version. There’s no interval – my pet hate – yet there’s a perfect opportunity for a cliffhanger moment that could separate the play into two acts, whilst still retaining its time structure (I won’t say what it is because it’s an important moment of plot development). I suspect the play has been pared back a little too much; the main characters are fascinating creations, and it would have been good to hear more of what they say for themselves. Strangely, scene two, set on a railway station platform, offers little in the way of plot development and I confess I found that scene just trod water. When you assess the play as a whole at the end you realise the scene is not completely pointless, but I can’t help but think the writer could have edited it back more, whilst filling out some of the others. That said, overall it’s a very entertaining script, with some excellent high tension scenes as well as a lot of nicely pitched comedy.

Director Dominic Dromgoole entices some superb performances out of his cast which keep our attention throughout the show, despite the distraction caused by immensely clunky and laborious scene changes that seem to take ages and really add very little to the production – I would have preferred much less set design and for the audience to use their imagination more. At the heart of the play is a terrific performance by Julian Ovenden as Nichols. Bristling with charisma, you can easily imagine how his students are in awe of him; full of bonhomie tinged with just a hint of academic arrogance and the self-satisfaction that he is naturally always right about everything. And like all such people, when you chip away at everything they believe about themselves, you can sometimes reveal a void underneath.

Tanya Franks is also excellent as the Dean, Amy Katz, a woman juggling many roles and appearing to be thoroughly decent in all of them. Ms Franks plays her as a tough cookie and a voice of reason; but of course, we all have our weaknesses. And the always reliable Giles Terera delivers a strong and confident performance as Baxter Forrest, the media-wise, television presenting professor, who has an unfailing ability to smell a rat and a superb way of expressing unpleasant home truths with enviable eloquence.

There’s excellent support from Katie Bernstein as the highly principled student Maggie who is prepared to risk everything for what she believes in, and from Georgia Landers as the FBI officer Quinn Harris, whose interviewing technique pays off in abundance. Michael Benz gives a terrific performance as Lucas, a likeable young man who seems to blunder his way through life – until you really get to know his character in the final scene. Paul Rider does his best as bartender Frank in what seems like the vestiges of a previously larger role. I’m not sure why Mr Grellong didn’t remove the role completely.

A fascinating subject for a play, and in many ways a fascinating play too, although maybe sometimes for the wrong reasons. If you take away one message from it, it’s to watch out for individuals’ motives. They may not always be what they seem. Plenty for you to talk about on the way home. Power of Sail continues at the Menier until 12^th May.

Production photos by Manuel Harlan

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