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Reviews, News and Commentary

Sincere Apologies: did you really say that

John Daly-Peoples

Sincere Apologies

Don Koop, Jamie Lewis and David Wiliams

Auckland Arts Festival

Loft, Q Theatre

Until March 22

Reviewed by John Daly-Peoples

It’s opening night of Sincere Apologies but there are only twenty-five people in the Loft at Q with seating for more than one hundred. Maybe people have read about the show already and have found out that they may have to speak. That’s a big no-no for some New Zealanders. Public speaking – that’s when you make a complete idiot of yourself with the wedding speech, or the farewell speech at the office. No wonder only twenty-five turned up.

[I attended the opening night and some adjustments have been made based on feedback from this preview]

It all starts simply enough. An envelope is handed round the group with instructions to keep it moving until the music runs out. Just a version of pass the parcel, and then the lucky person gets to read out the instructions and hand out fifty envelopes.

These are fifty real apologies that are distributed to the audience. They are mainly from the last fifty years, all of them factual, collected by the three creators, Dan Koop, Jamie Lewis and David Williams. There are apologies from government ministers, public figures as well as private individuals, all expressing remorse for things they have said or done or their governments have done. One by one, the audience members step up to the microphone and read them out aloud.

There are some important apologies. New Zealand government ministers apologizing for the government actions during the Land Wars, an on-air apology by Paul Henry to the Governor General Anand Satyanand for dumb things he said on radio and there is also Kanya West apologising to Taylor Swift and Beyonce for dumb things he has said about them.

I got to read out two apologies. One by the chairman of the Fukushima Power Board apologizing for the trouble and harm caused by the explosion and release of radioactive materials into the sea and air.

The other was by Geroge Bush apologising for the treatment of Japanese /American citizens during the Second World War.

There were lots of other apologies for the harm done by war with some private individuals apologising for what their German and Japanese parents may have done during the Second World War.

There was a range of apologies from all walks of life and for all sorts of reasons. There was Tiger Woods apologizing for his infidelity and an apology for the harm caused by the Dawn raids.

There were also a couple of apologies to theatre goers who had made complaints to Q Theatre for unstated reasons.

One apology was very succinct – “Fuck”.

There are no actors in this mix of ordinary people but some of them were as assured as if they were. Others displayed a bit of hesitancy, but all seem to relate to the apology they were reading. Some of the apologies from government ministers were a bit formulaic and those apologies were buried under the same set of words. When these statements are stripped of power, position, and spin they seem hollow, lacking real meaning. Other apologies like Jacinda Ardern’s apology for the Christchurch Mosque murders were filled with meaning and history seemed particularly relevant.

Hearing these apologies, one is made aware of the power of language and sometimes because of the way in which people read them the readings were given an added emotional tone.

There are couple of made-up apologies with dates set in the future – an apology in 2065 to Kiribati and other island nations for the inundations of 2050 and one from the Australian government acknowledging the death of the last koala in existence. The one disappointment was that there was no discussion at the end of the session, only applause by the audience for their own collective performance.

Categories
Reviews, News and Commentary

The Apprentice: Trump’s early days of learning the art of corruption

Reviewed by John Daly-Peoples

Jeremy Strong (Roy Cohn) and Sebastian Stan (Donald Trump)

THE APPRENTICE

Directed by: Ali Abbasi

Duration: 120min

In cinemas from October 10th

Reviewed by John Daly-Peoples

Some of the more interesting aspects of the Donald Trump biopic, “The Apprentice” are around its funding and distribution. Unlike most US films it was largely financed by Irish and Danish organisations and none of the major distributors would touch the film, fearing the wrath of the ex-president. To fund the distribution of the film in the US the producers initially had to launch a Kickstarter fund before it was eventually picked up.

The film is directed by  the award-winning Iranian-Danish filmmaker Ali Abbasi and looks at the life of Donald Trump in the 1970’s and 1980’s as he made his first moves into the New York real estate business.

It’s in two parts with the first set in the seventies when Trump is just starting out, working for his father as not much more than a rent collector as he embarks on his own career. The second part is set in the eighties when he is wielding more power and influence.

Along with Trump, the main protagonist is the influential attorney Roy Cohn  who gained prominence for  successfully prosecuting the American spies, Julius and Ethel  Rosenberg leading to their execution in the early 1950’s.

He  manipulated the legal system on behalf of powerful, conservative figures but lived as a closeted gay man, publicly denying his AIDS till the day he died.

Trump becomes the apprentice to Cohn as he assists him in his efforts to circumvent New York City planning restrictions to build Trump Tower and helps Trump amass wealth and power through deception, intimidation and media manipulation.

Cohn’s advice to Trump consisted  of three simple rules.

Rule 1. Attack. Attack. Attack. Rule 2. Admit nothing. Deny everything. Rule 3. Claim victory and never admit defeat.

We see how these become the foundations of Trump’s later ways of dealing with individuals, organisations and the media, as President and in his present-day speeches and interviews.

Abbasi depicts Trump as something of a loner, often in the presence of other people but with no close friends. Even his family relationships are fraught notably  with his “loser” brother Freddie who is only an international pilot and later a drug user who Trump won’t put up at his place.

The film does not completely vilify Trump and there are some sympathetic touches but it does show that he is a flawed character both from his upbringing as well as  his relationship with Cohn and these experiences do nothing to make him more sympathetic towards other people.

Sebastain Stan cleverly displays many of the characteristics of the later Trump and we see how he is progressively imbues Cohn’s cynical view of people and the world – there to be taken advantage of.

Jeremy Strong as Roy Cohn presents an almost totally amoral character who apart from his three rules of getting ahead also reveals a disdain for weakness in others and a savagery in getting his own way.

Maria Bakalova (Ivana Trump) and Sebastian Stan (Donald Trump)

Trump’s relationship with his first wife Ivana (Maria Bakalova) and his father Fred (Martin Donovan) are loosely sketched in but they could well have been fleshed out a bit more to add depth to the psychological study of Trump but they do suggest aspects of his personal relationships and the need to dominate .

Screenwriter Gabriel Sherman has skilfully crafted Trumps ascent with his actual recorded dialogue, written words  as well as some  well devised dialogue.