On the Record
Ice & Fire could not have known its latest piece of verbatim theatre On the Record would premiere in a fortnight that has witnessed the biggest scandal to hit journalism in four decades.
As the subjects of this play show, good journalism is about getting close to power without getting too cosy. An American photojournalist embedded with US troops in Iraq but refusing to point his camera where he is told; an Israeli newspaper reporter crossing the border into Gaza to experience daily life as a Palestinian.
The true journalist, as one character puts it, exists to challenge power or at the very least annoy it. The mission: using the privilege of their position to fight a regime of privileges.
Based on real-life testomonies of six independent journalists operating in countries both with and without freedom of the press, writers Christine Bacon and Noah Birksted-Breen‘s play cannot fail to fascinate. Unsurprisingly, the script is filled with pithy lines (even if it could do with a judicious edit at times). “We are not referees in a football match,” says the Sri Lankan newspaper editor. “Being fair and objective is not the same thing.” A strong cast avoid the didactic trap of verbatim theatre by honouring their characters’ sense of humour as well as their heroism, fleshing out personalities as well as words.
If it’s not as persuasive as previous Ice & Fire outings such as the superb Rendition Monologues, perhaps that’s because (ironically) it is too close to its subject. The Ice & Fire project is something akin to journalism, interviewing and giving voice to those without one.
Journalists, however, can speak for themselves and despite recent events, should never really become the story. On the Record can feel disjointed – despite the best efforts of writers and actors, the real drama will always be off-stage.
That said, if ever there was a time to see this show it’s now. It’s a reminder that some journalists do more than sign their names on a story; they lay down their lives.
