Playwright James Graham has crafted a Faustian story based solidly on real events. It’s 1969 London, and a devilish thirtysomething Rupert Murdoch (Bertie Carvel) is expanding beyond his Australian newspaper empire by acquiring English daily The Sun. He enlists Larry Lamb (Jonny Lee Miller) – at the time editor for a Manchester paper – to take over the underperforming Sun and turn it around by any means necessary.
Lamb is the biggest, showiest role in Ink and Miller goes for it with gusto. At the performance I attended, a printer’s mallet fell off the stage and without missing a beat Miller lept off the stage to retrieve it. He totally blazes through the role. Murdoch is a smaller but pivotal role, and Carvel gives him a oddly powerful, evil slouch.
But Ink is much more than a two-hander, and director Rupert Goold weaves a dazzlingly theatrical tapestry from Graham’s play. Mod dancing punctuates the scenes, and projections whizz and pulsate. It’s this kind of surreal sizzle that makes Goold one of my favorite directors, and he’s at the top of his game here.
Graham and Goold cool things off in Act II to take time examining two key moments in the Sun‘s history: the kidnapping of Murdoch family friend Muriel McKay, and Lamb convincing Stephanie Rahn (Rana Roy) to “take it all off” for the first installment of the notorious “Page 3” pictures. When we first meet Rahn in Act I, much is made of her changing her name from Kahn to Rahn for her modelling work – maybe this had a foreshadowing effect for British audiences, but it falls flat here. It is one of very few hiccups in this otherwise riveting show. Recommended.
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To learn about Jonathan Warman’s directing work, see jonathanwarman.com.