Richard Dennis
posted 17 May 2007

If you're looking to write a play about politics, war and boy-love, there's no doubt that Ancient Rome is one of the more suitable locations to base it. Just as the phrase 'period drama' evokes images of daft clothes, quaint characters and insufferable romance, so dramas set in Rome tend to involve themes such as power, corruption and boy-love. So it's no surprise to find that Carthage Must Be Destroyed, a new play by Alan Wilkins, confidently ticks all these boxes. Set during the Third Punic War, it examines the motivations for waging an unnecessary war and the implications that arise as a result.

The play opens in a Roman bath, where the three major power players, Cato, Marcus and Gregor discuss how to wage war with Carthage. The premise is simple: muster public support by claiming that Carthage is stockpiling weapons, march in, accept a quick and easy surrender, and march out, filling up the public coffers with booty as a result. Already alarms will be blaring for all but the most politically inept. Much of the dialogue in Carthage Must Be Destroyed echoes the rhetoric spouted by modern day politicians over the war in Iraq, unsurprising given the current political climate. Thankfully Wilkins avoids thinking he is making a clever point simply by dressing current events up in different clothes. Instead he convincingly shows that the reasons for going to war, and the consequences, have been similar ever since humans first started beating each other with sticks.

The themes are carried through by a consistently strong cast. The consul Cato, superbly played by Tony Guilfoyle, is an intriguing political character. He is calculating, determined and intent on power, as most leaders are, but he lacks the tyrannical blood lust that invariably accompanies such characters. He acts with kindness to a wounded hostage, before ordering his execution minutes later because of laws and necessities of war. It is a chilling and compelling portrayal of a man filled with the vision of Rome. Guilfoyle also looks exactly the same as my old economics teacher, which scared the life out of me. In a similar vein, Damian Lynch’s Marcus is thirsting for power. Grandson of a slave, he is keen and focused on working for his Senate place. Gregor, on the other hand, is quite happy to relax and enjoy the life of a Senator, socialising and networking whilst seducing any handsome young man he comes across. His descent from the cool and calm man, relaxed in his surroundings, to someone completely out of his depth and desperate for a way out, is great stuff to watch. Whereas normally Gregor would be a character who would invite sympathy from the audience, here he constantly pushes them away through his ineptitude, cockiness and sheer laziness.

Together the three of them work out a plan in the baths and they go off safe in the knowledge that it will all be over by Saturnalia, resulting in a rousing war speech by Cato to the people that ends the first half (unfortunately the idea of having the audience as the people was undermined by poor staging and positioning). When it all inevitably goes wrong, the blame seems to land solely on those characters who mix personal with political. Cato’s rash decision to send Gregor to Carthage was a result of his anger at finding Gregor wrestling with his nephew. Gregor’s inability to suppress his own desires, even to the extent of disobeying a direct order from Cato, inevitably means that when he’s not in Rome and can’t use his spin or other personal means, he falls apart. It’s interesting and thoughtful stuff, with enough back stabbing, scheming and boy-love to satisfy the highest of Roman drama expectations.

Till 19 May 2007