★★★★
While waiting on the bus on my way to see ROTUS: Receptionist of the United States, I overheard two elderly women talking about Donald Trump. “When he first got in, I thought he was an idiot. But a lot of people listen to him and actually, he just says it like it is,” one said. The way that ordinary people have rolled out the red carpet to welcome someone like Trump as the leader of the free world is exactly why theatre like ROTUS is so desperately needed.
Leigh Douglas delivers a self-assured and confident one-woman performance as Chastity Quirke in ROTUS: Receptionist of the United States. Directed by Fiona Kingwill, it’s a whip-smart and surprising political satire that blends humour with increasingly unsettling truths throughout the hour long show. From the moment Douglas steps on stage, her command of character and space is undeniable. Her portrayal of ROTUS is so convincing, the audience is immediately drawn into her world of Washington debauchery. I was on the edge of my seat, desperate to know just how far Quirke was prepared to go.
The narrative is a little disjointed at times, but Douglas takes this in her stride and manages to perform an impressive number of roles throughout the performance, from White House press secretary to chief of staff. The writing sparkles with wit and precision, and Douglas’s ability to shift between comedic banter and moments of emotional gravity keeps the audience engaged even when the plot meanders.
Douglas’s performance is outstanding. Her timing, physicality, and vocal range brings ROTUS to life with nuance and flair. Particularly effective is her use of breaking the fourth wall, creating a sense of complicity with the audience and drawing us into the moral ambiguity of ROTUS’s choices, and forcing us to confront our own complicity in the systems she critiques.
The voiceover interludes add another layer of insight and explanation, functioning almost like an internal monologue or omniscient narrator. These segments help clarify some of the more abstract elements of the story and gives depth to ROTUS’s motivations, especially as the show veers into darker territory.
And dark it does become. A twist in the final act transforms the show from a satirical commentary into something far more topical and unsettling. Without giving too much away, Douglas uses this shift to comment on power, surveillance and the erosion of truth in public discourse.
In all, ROTUS is a compelling, if occasionally uneven, piece of theatre. Leigh Douglas proves herself a formidable talent with a bright future ahead.
ROTUS: Receptionist of the United States will be performed at the Gilded Balloon: Patter House (Snug) until 24 August as part of the Edinburgh Fringe.
Words by Lauren Gilmour
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