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Frost/Nixon
Presented by: Melbourne Theatre Company
Venue: Fairfax Studio at The Arts Centre, Melbourne
Reviewer: Adam Rafferty - Theatre People Editor
Date Reviewed: 29th May, 2008
Photo: Jeff Busby
In 1977, jet-setting British satirist and television presenter David
Frost secured a series of television interviews (for a hefty sum)
with disgraced ex U.S. President, Richard Nixon. The Republican
leader had resigned the presidency in 1974, after the fall out of
the ‘smoking gun’ tape in the infamous Watergate scandal and was
keen to rehabilitate his public image. Peter Morgan’s stageplay
Frost / Nixon dramatises the events surrounding the obtainment
of Nixon’s agreement to the interviews and the on-screen and
off-screen machinations of the talks themselves.
Just whether these events are of interest to the typical Australian
theatregoer or not is a question for debate itself, but it is
certainly the case that what occurred in Frost’s final interview –
that is Nixon’s tacit admission of guilt concerning his involvement
in Watergate – is a fascinating turning point in the life of the 37th
President of the United States. The simple uttering of “when the
President does it, that means that it is not illegal” put paid to
any plans Nixon might have had to return to being a respected holder
of public office in any shape or form. The way that statement is
elicited from Nixon and how Frost’s research team advised him along
the way is a somewhat intriguing tale.
 John
Adam conveys Frost as a narcissistic sycophant who is teetering on
the brink of career collapse – in fact, Frost was indeed
experiencing a temporary fall from grace at the time, as the
reputation he had built for himself in the sixties as a
well-observed satirist was under fire from various peers and the
media. However, Morgan’s script and Adam’s portrayal give Frost more
dignity in the second half of the play, painting the man as somewhat
of a people’s hero for revealing the truth about a leader who
thought he was above his country’s laws.
Marshall Napier’s interpretation of Nixon is a sufficient reflection
of the politician’s vocal and physical cues to satisfy the much
better knowledge that the average punter has of this much-spoofed
historical character. Napier’s rendition is no spoof though, but a
seemingly truthful reconstruction of a man desperate to prove his
political worth. The metered delivery of his responses in
‘interview’ are every bit the style of an experienced public
speaker.
Photo:
Jeff Busby
As one of Frost’s American researchers, journalist Jim Reston,
played by Teague Rook, was on Nixon’s ‘master list of political
opponents’. Ultimately, that listing was justified, as he was key in
unveiling the information that led to Nixon’s shocking admission. As
the main narrator of Morgan’s script, his importance is further
highlighted and Rook bears the lynchpin nature of this role well,
convincing as the principled professional reporter displaying all
the traits that Frost lacks. Rook’s fine characterisation however
was destabilised a little by an, at times, unsteady performance. 
David Tredinnick’s mugging depiction of Executive Editor Bob Zelnick
and garbled accent served to underplay the importance of Zelnick’s
part in the events of the story. Neil Piggot delivers a
distinguished interpretation of Nixon’s former White House military
aide Colonel Jack Brennan particularly when Brennan’s stoic façade
breaks after Nixon’s final indignity.
The minor role of Frost’s girlfriend Caroline Cushing is played by
Kat Stewart, an actress currently receiving plaudits for her version
of another real life character – Roberta Williams in Channel Nine’s
Underbelly - but Melbourne audiences hoping to glimpse an
idea of why she has been so lauded will be disappointed as her
skills are wasted in this anodyne role.
Richard Roberts’ set design uses a revolve and overhead video screen
to efficiently convey a variety of settings and during the
‘interview’ the video screen cleverly acts as a split monitor for
the cameras that are ‘recording’ the discussion. Costume design by
Judith Cobb shows a truthful reflection of the era and complements
the script’s setting of time and place.
Photo:
Jeff Busby
 Rodger
Hodgman’s direction is tight and keeps the pace of the story swiftly
moving, wisely keeping the tone anchored in reality and not
melodrama.
This play started its life at the distinguished Donmar Warehouse in
London before a transfer to Broadway with the same actors playing
Frost (Michael Sheen) and Nixon (Frank Langella) in both
incarnations. Langella went on to win numerous awards and the play
itself was nominated for several including the Olivier and Tony
Awards for Best New Play. This success has ensured that a film deal
was signed and Ron Howard will be bringing the story to the big
screen at the end of the year. But despite all this and even
considering Frost / Nixon’s Australian connections – Evonne
Goolagong is a ‘character’ in the play and there are a number of
references to Frost’s Aussie television specials – this story
stretches to engage for its two hour running time. A good
understanding of the Watergate scandal is not requisite to
appreciating this story; however, an above average interest in
American political history or television journalism would increase
one’s ability to enjoy this tale of two potentially delusional men.
Photo:
Jeff Busby
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