A female Tory PM struggles to retain authority; a ‘man of the people’ runs a messianic campaign for change; a disaffected youth is politically awakened while a public debate rages between patriotism and egalitarianism. Sound familiar?

Prophetically, Mike Bartlett’s extraordinarily powerful political and faith-based play, written in pre-Brexit Britain in 2011, uncannily tackles many of the issues that most concern us six years on.  Michael Billington of The Guardian attributed Bartlett as saying “that we live in a Britain where the old tribal loyalties are increasingly irrelevant. The real divide is between a popular protest movement, fed on Facebook and Twitter, that hungers for a change of direction, and an entrenched governmental system that clings precariously to the status quo.” How true.

Sharply directed by David Mercatali, ‘13’ is as stiff a challenge as you could imagine for this year’s Bristol Old Vic Theatre School graduates. With multiple scene changes and cross-over conversations in a first half alone that stretched to almost an hour and a half, this ensemble were always on top of the material, delivering, with matchless timing, pace and character, a thrillingly dark portrayal of personal and public crises.

Anisha Fields’ simple yet clever set comprises 12 meshed doorways that double as sleeping ‘pods’ for twelve individuals struggling with a shared nightmare. The evening begins with the ‘pods’ subtly spot lit, behind the mesh, to reveal dreaming occupants. It is an intimate moment, as if, like pulling open the door of a gigantic dollshouse, we can see its residents in innocent slumber, a humanity rendered equal by its need for unconsciousness… but then brutally awakened by an alarm.

At its apex, the play revolves around a ‘Christ’-like figure, John, who returns to a dystopian London in which a female Tory Prime Minister, Ruth, contemplates the ethics of supporting a US-led war against Iran, to halt its nuclear threat, which will entail hundreds of thousands of innocent deaths.

Standing on an upturned bucket at Speakers’ Corner, John gathers a growing band of ‘disciples’ around him to challenge the status quo, exciting interest from Downing Street. Former uni colleagues, a powerful backstory emerges between him and the PM, which one, then the other, will exploit for advantage.

Adjoining this main drama, other more personal stories are played out, all of which contain issues of faith, good or evil. Bartlett thrusts us headlong into a series of relationship cameos. There is pragmatic Holly who sells sex to seedy solicitor Mark, a man who has lost his moral compass. There is high-minded busker Amir and his long-suffering, more practical, girlfriend Rachel and the socially challenged Zia, in search of female company. All become swept up in John’s new ‘red army’.

Riding high and mighty above these ‘everyday’ lives is steely Conservative Party PM, Ruth, played with enormous conviction by Laura Waldren, with her entourage of minders and advisers. One of the play’s surprises is that it combines equally passionate speeches in defence of both left and right wing values. Herb Cuanalo and Gina Ruysen deliver powerful performances as US emissary Dennis and his deeply troubled and religious wife Sarah, while Laura Soper plays their acerbic daughter Ruby to perfection. Equally notable was Euan Shanahan’s portrayal of the PM’s flag-waving adviser Stephen, the ideological opposite of John, who was played with increasing strength throughout by Billy Harris.

Bartlett’s play leaves us in no doubt that nobody necessarily holds a higher moral ground, and that lofty public political rhetoric and faith of all persuasions can be compromised by personal dilemma.

To succeed, ‘13’ needs fast-lane concentration and commitment. The very talented BOVTS ensemble gave it all the welly it needed to give us a memorable night’s theatre.   ★★★★★     Simon Bishop  27^th June 2017