Review: The Code (Southwark Playhouse Elephant)

Review by Daz Gale

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A touch of Hollywood glamour arrives in Elephant and Castle with a brand new production of Michael McKeever's The Code, playing a limited run at Southwark Playhouse Elephant. Transporting us back to the 1950s to take a look at a time when people had to hide their true selves and acceptance wasn't so forthcoming (yes, this is definitely the 1950s and not the 2020s), could this glamorous tale break the code when it came to delivering a hit?

The Code takes place over one night in Hollywood in 1950 as fading actor Billy Haines and his longtime friend, the legendary Tallulah Bankhead entertain an agent and his rising star protégé. As the drinks keep coming, the conversation gets more heated as the differing generations discuss playing the game, carefully managing their image, editing their identity and not breaking the code, with Haines decisions 20 years previously and the repercussions it had on his life and career being a warning or perhaps even an inspiration for the young upcomer Chad Manford.

“The code” that is so often mentioned is sexuality. In Hollywood in 1950, you could not be an openly gay actor. Haines has stories about his time in the limelight, openly sharing actors he has had encounters with, to the shock of the young upstarter he is entertaining. There is talk about what to do and what not to do if you want to succeed in that business, and Haines' defiant attitude cost him his star. We may be on to the next generation when the conversation turns to young Chad, but the question of should history repeat itself or will Chad act differently if he wants to get ahead.

Though this evening takes place 75 years ago, the theme and conversation is still starkingly relevant, perhaps more so than it has been in a fair while given certain recent events. This contrast makes the impact of the writing all the more poignant. Looking back at history to see a time when people had to keep their true selves secret for fear of what might happen if they were open and upfront about it is heartbreaking enough, but knowing this still occurs in society all these years later makes the message of the play all the more resonant.

While the themes at the heart of The Code are deeply serious, the play itself is far more layered than that, with no shortage of comedy on offer. Michael McKeever’s writing is glorious to watch unfold, subtly planting seeds for an eventual payoff in what may be the speediest 90 minutes of theatre I’ve ever sat through. McKeever’s ability to land a theme as well as debate a topic allows for a great deal of richness, while his sharp wit makes for some absolutely brilliant one-liners. The way the mood of the conversation and the tone of the play can change in a split second is part of what makes The Code so breathtakingly brilliant, never jarring when it does a 180 and always captivating, whether you are laughing at a carefully crafted anecdote or having a lump in your throat at the more emotional moments. McKeever’s writing never falters, starting on a high and keeping the genius level until the very last second.

The writing is further elevated by Christopher Renshaw’s inspired direction, finding every ounce of tension, emotion and humour and using them consistently in a beautiful blend that is perfectly paced. The strength of the direction is further exemplified in how each of the four cast members act and react when they are not in the spotlight themselves. I found myself frequently scanning the stage to see the facial expressions, reactions and body language of each of the other cast members while another was dominating through dialogue, and this was always exquisitely realised and faultless in its execution. The word I keep coming back to with The Code is rich, because this production really has an abundance of riches, where the opulence of the setting is matched by the quality of the material itself. 

Ethan Cheek’s set design is another key strength of The Code with the realisation of the room in Haines’ house where he entertains his guests filled with detail and glamour in a wonderful show visually. What sets Cheek’s design apart is the broken nature of the Hollywood sign surrounding the room, almost as a proscenium arch. Sending a clear message and drawing key comparisons to the issues talked about in the play, it is a clever and creative touch, adding an unexpected element to the glorious aesthetic.

The talent on stage at The Code proves to be another one of the play’s biggest strengths, with the four cast members each getting their own moments to shine in performances that are equally mesmerising and magnificent. Nick Blakeley is sensationally smarmy and slimy as the agent Henry Willson managing some sinister moments that prove unsettling. Solomon Davy delivers the perfect art of patience as Chad Manford. As the young protégé, he spends much of the play in the shadows of the bigger characters, putting his foot in his mouth whenever he speaks in a deliberately green portrayal that thrills. Where Davy comes into his own as an actor is in a key scene near the show’s climax where the result of Willson’s ways lead to an intense and emotive performance that felt stunningly authentic.

John Partridge delivers a masterclass performance as Billy Haines, Dominating proceedings as he entertains his guests in his home, Partridge embodies Haunes perfectly, ensuring a well-rounded portrayal that taps into every aspect of the character. His charismatic and seemingly carefree nature can transform in an instant, usually after being questioned or indirectly insulted by another character. This is where Partridge truly shines, delivering an icy cool response with a face that doesn’t need to say anything to have his meaning felt, and providing some of the more intense moments of the play. Haines is a very interesting and well fleshed-out character, and Partridge relishes this opportunity, bringing a realness to the story.

Tallulah Bankhead was a legendary actress, so it feels fitting that another legendary actress has been cast to play her, as Tracie Bennett once again proves what a force to be reckoned with as she sinks her teeth into the role. The role calls for her to be over-the-top at times, where the camp factor can be ramped up, but never to the extent that it makes light of the serious issues in the play. Bennett is fabulously scene-stealing with every hilarious one-liner and attempt to break up the arguments between the three men - she merely has to deliver an iconic laugh to have the audience join her with laughter. Breaking the fourth wall to speak directly to the audience at several key moments, Bennett becomes the anchor of the piece. In other hands, this could be jarring as she snaps from talking to the audience to talking to her fellow cast members, but such is the marriage between the writing, direction and Bennett’s performance that this always feels effortless. Though there are prolonged times where we don’t hear from her character, Bennett still makes her presence felt, continuing the anchoring that is integral to the show. The role of Tallulah Bankhead plays to all of Bennett’s strengths in a performance that demands vulnerability, eccentricity and star quality with a touch of humanity. Bennett ticks every box in a truly awe-inspiring performance.

The Code is the rarest of shows in that it really does tick every box. Not only well-written, but the production value of this in every sense creates pure theatre magic. Southwark Playhouse have proved in recent years that they are to be taken seriously, with Operation Mincemeat and The Curious Case Of Benjamin Button both enjoying West End transfers following runs there. I wouldn’t be surprised if The Code follows suit. Certainly, it feels like a show that should be in the West End and could sustain an audience as there is far too much to love throughout. What’s more, its themes of acceptance, identity and tolerance still packs a punch, proving as powerful as it ever would have been, perhaps even more so. The result is a beautiful show that can make you laugh, cry and feel at every turn. Bolstered by four phenomenal performances, when it comes to creating a flawless play, this production really has cracked the code.

The Code plays at Southwark Playhouse Elephant until 11th October. Tickets from https://southwarkplayhouse.co.uk/productions/the-code/

Photos by Danny Kaan