Review: ROTUS: Receptionist of the United States (Park Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

One of the greatest aspects of theatre is the escapism it can provide - in an increasingly scary world, it can allow you to switch off and lose yourself in a different world far from the terrifying reality we are facing. On a day when the news was full of the President of the United States latest attempts to channel the cartoon villain he was destined to be, I took myself to the always enjoyable Park Theatre to witness the London premiere of ROTUS: Receptionist of the United States in a play whose intent of satire felt more like a sobering reality. While that may have thrown the escapism out of the window, would it manage to conquer the audience like Trump wants to conquer Greenland, or would it be met with extreme resistance?

ROTUS: Receptionist of the United States tells the story of Chastity Quirke and how she came to be the receptionist at the White House under President Ronald Drumph (any similarity to anyone living or dead is purely coincidental, of course). As she gives a tour of the place to her sorority sisters, she vows every day to “make America hot again”. Recounting how she got the job, and this particular day where everything changed, we get the sense there might be more to this girl than its deceptively superficial beginning would have you believe.

Written and performed by Leigh Douglas, ROTUS is inspired by real-life events, including Cassidy Hutchinson, who testified against the President regarding the January 6th Capitol attack. While these exact events are not replicated, they are alluded to with their own similarities, including the President issuing a “call to action” and the devastating repercussions a seemingly inconsequential tweet can have, as well as the threat to not relinquish power following the completion of his second term. Sound familiar?

In certain ways, ROTUS suffers due to the horrifying nature of real-life. It is less easy to laugh at the satirical nature of the piece, knowing that we are currently living this story in real time. Highlighting some very real, problematic and terrifying incidents from the past few years, it also gives a glimpse into the future and what might be. Had ROTUS played in a time when things were a lot calmer, it would be a lot more enjoyable to watch, allowing the laughs to flow freely without the sense of guilt or that niggling feeling in your head that doesn’t make every throwaway line seem so harmless anymore.

This shouldn’t be a detriment to the play itself, and the fact ROTUS is so timely is more a testament to Douglas’ skill as a writer. The layers she fills the story with continually impress, with her seemingly shallow character unravelling to reveal an unexpected nature. Initially dismissing everything as fake news, woke nonsense, and panicking about being a feminist, the very real repercussions soon rear their ugly heads (much to Chastity’s disappointment) to reveal the real issues plaguing the White House, and what standing up for freedom truly means.

It may sound deep, but ROTUS is also unashamedly silly at times, filling its dialogue with funny one-liners. “My favourite season is the fall of feminism” was a highlight, while a brilliantly inserted Legally Blonde reference showcased Douglas’ wit and ability for comic timing. Running at just over an hour, it is a pacey and entertaining piece of theatre that pokes fun at real-world events with a knowing wink to the audience, ensuring that they have a good time in the process, but never undermining the seriousness of the subjects. Sometimes, the best way to counter such serious issues is to make light of it, and laugh in its face, though there is an element of timing to it, and the fact that we are still in the middle of it may mean it’s too soon. Would ROTUS be more or less impactful in a few years time, once current events are just a bad memory (I hope)? Only time will tell.

It isn’t just Leigh Douglas’ writing that impresses - her performance as Chastity Quirke also wows throughout. A charismatic and captivating performer, her initial carefree nature can change at any given moment, with Douglas’ showcasing a wide range, allowing for a character full of riches. Perhaps the musical number that came near the show’s climax was a step too far, proving rather jarring in a show that had thus far been consistent in its approach and tone. Though this is Douglas’ baby, ROTUS comes to life through Fiona Kingwill’s fantastic direction, making full use of Park Theatre’s smaller 90-seat space, with nothing more than a desk and a talented performer.

Though ROTUS might not offer true escapism, it does feel good to laugh at the absurdity of some of the situations, safe in the knowing that this isn’t quite real life (yet). Imperfect as it may be, its message lands clearly, thanks in no small part to Leigh Douglas’ immeasurable talents both as a writer and a performer. If its mission was to Make Theatre Great Again, it has well and truly come up trumps.

ROTUS plays at Park Theatre until 7th February. Tickets from https://parktheatre.co.uk/events/rotus-receptionist-of-the-united-states/