TheTrump Cautionary Tale Has London Buzzing

I once asked Jay Leno—as he was ranting about the lack of timely political movies—if he’d ever seen A Face In The Crowd. “It’s my favorite movie ever!” he exclaimed.

The 1957 picture, written by Budd Schulberg and directed by Elia Kazan, starred Andy Griffith as Lonesome Rhodes, a phony, but increasingly powerful, man of the people, and Patricia Neal as the woman who discovers him, loves him and then…well, reveals the true him. (Thank you, hot mic.) It also featured Walter Matthau as the sole man of conscience, and was the first time we saw Lee Remick, who played the majorette who briefly won Lonesome’s heart.

All these years later, it is now in theatrical form. The script is by Pulitzer Prize-winning playwright Sarah Ruhl, with original songs by Elvis Costello. It opened in mid-September at London’s Young Vic, and is already creating buzz.

The show was in the planning stages at New York’s Public Theatre—with Patrick Wilson set to star—when COVID struck. The production seemed to be in limbo for years…until now. Like other shows (Eureka Day, for example, which also debuted at Young Vic and is now heading to Broadway) this one is opening across the Pond. The costs are far less, the crowds love theater, and talent is abundant. (Currently, Ben Whishaw and David Oyelowo are among the big-named actors on London stages.)

The show’s investors and producers have stayed hopeful and confident. Like Rick Feldman, a former TV station manager, who now backs plays. He has enjoyed a winning streak with Dear Evan Hansen, Come From Away, and Hadestown. “I was drawn to this project in 2016,” says Feldman. “A combination of its relevance to current events, the pedigree of the IP, the writer chosen to adapt the material, and music by Elvis Costello.” Producer Scott Zeilenger added, “The cross pollination is a dream: What this says about mass media, celebrity, and politics is so on target. Part of me wishes it wasn’t so relevant.”

Scarily relevant it is. When the show was first rehearsing at the Public, Donald Trump was gearing up for a presidential run. Now, says its backers, the timing may be even more urgent. “It is certainly as timely as ever,” says Feldman, “although it will hopefully come to Broadway later in 2025 and maybe our U.S. disease will be long gone….but not forgotten!”

The show is the final one helmed by the Young Vic’s highly influential artistic director, Kwami Kwi Armah. He’s made a real impact over his eight-year run. “I was set to leave four months ago,” he said, “but then this emerged. It is one of the most exciting things to come along in what it says about yesterday, today, and maybe tomorrow. This is the way I want to go out.”

The stars of the show are Ramin Karimloo, who earned raves for playing Fanny Brice’s husband in Funny Girl, as a sexy and powerful Lonesome, and Vicki Lee Taylor as Marcia. A diverse, talented ensemble each play multiple roles.

Even though Schulberg—whose wife, nephew, and grandchildren were present in London for the opening—wrote this in the ’50s, the allusions to today’s politics are all over the place: When Rhodes gains fame and power via the relatively new medium of television, he starts yelling “you’re fired!.” Well…take it from there.

Michele Willens’ Stage Right..or Not airs on an NPR affiliate.