The Bomb - First Blast: Proliferation (1940-1992) - From Elsewhere:The Message/Calculated Risk/Seven Joys/Option/Little Russians

Synopsis

It is the first year of World War II, and in Whitehall two emigre Jewish scientists are waiting for a meeting to get the British establishment to take their nuclear research seriously. The following plays then trace the history of Attlee's Labour party wrestling with the decision to build the Atomic Bomb, the Cuban missile crisis from a Russian perspective, China's war with India and the subsequent development of India's bomb, the break-up of the Soviet Union and the unilateral disarmament of Ukraine.

Our Review:

Michael Coveney - 21 February 2012

Nicolas Kent bows out as artistic director of the Tricycle with a five-hour, two-part “partial history” of the atomic bomb, which has overshadowed our lives for the last half century.

Is it really only that long? And do we really remain so blasé about it? There are ten short plays by nine playwrights: Zinnie Harris tops and tails proceedings with a conversation piece for the German and Austrian scientists who discovered the fault in nuclear fission science and ended up monitoring underground nuclear facilities in Iran.

It’s a chilling and deeply disturbing progression. The plays are interspersed with verbatim research from Kent’s regular associate on his tribunal plays, Richard Norton-Taylor of the Guardian, who highlights David Cameron’s commitment to Trident and Shirley Williams’ concern at the miracle of nothing exploding… so far.

But we are runnin...

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Latest User Review

Gareth James - 19 March 2012:

Here I am again, less than 12 hours after leaving the Tricycle Theatre, hearing news that could just as easily have been part of what I’d seen earlier. I suspect there is no other theatre in the world using its stage to present an objective debate about the issues of our time and their historical perspective. This time, the bomb and its ‘Proliferation’ from 1940 to the early 90′s and its ‘Present Dangers’ – the last 10 years (and forward three). These ten short plays, and thirteen verbatim interview extracts, take us from wartime Whitehall, where German and Austrian scientists in exile present a startling discovery to the UK government, to recent IAEA inspections in Iran. In between, we visit the 1945 Potsdam Conference, an Indian nuclear facility, post-independence Ukraine, the White House, Pyongyang and the UN. For me, the highlights were Lee Blessing’s Seven Joys, set in a fictitious club of nuclear nations, and David Greig’s chilling yet funny The Letter of Last Resort, set in 2015 in Downing Street on the first day of our next PM. This latter play simply but brilliantly shows us the rationale (or not) for The Deterrent like a scene from Yes, Prime Minister (which it acknowledges). Yet again, I learnt so much whilst (yes, it’s true!) being entertained. This is equal measure education, debate, drama and entertainment and if that isn’t a theatrical achievement, I don’t know what is. In two parts and just four hours stage time, Nicholas Kent’s compelling staging flows seamlessly on Polly Sullivan’s simple but effective set, with a superb video design from Douglas O’Connell. Eleven excellent actors each play between two and five of the forty roles and enact the thirteen verbatim statements. Belinda Lang and Simon Chandler were superb in the Grieg play as were Daniel Rabin and Rick Warden, who played the exiled scientists in the two Zinnie Harris plays which frame the whole piece. A suitably appropriate swan song for Nicholas Kent. I can think of no other person who has made theatre as relevant in modern times, taking plays about the history of Afghanistan into the Pentagon and about events in our own country into Parliament. Within months of the August 2011 riots, they were objectively and forensically examined on this very stage. From the man in Row G, sir, I salute you....

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