⭐⭐⭐⭐
Rating: 4 out of 5.
A smart, silly satire exposing how women contribute to upholding the patriarchy
ROTUS is a one-woman show about Chastity Quirke, a stereotypical ‘dumb blonde’ Republican who lands herself the position of the White House receptionist. Desperate for validation from men, Chastity spends her days slamming socialism and the “icky Democrats” while preening herself and hailing Christianity.
Writer-performer Leigh Douglas delivers a laugh-out-loud, witty performance. Ramping up the blondeness, the annoyingly high-pitched voice, and the US accents to the max, she shows us a caricature of the women Republicans who stand by the cruel rhetoric of their male counterparts. ROTUS includes a storyline about Chastity grappling with a shift to feminism in support of a wronged woman colleague and friend, though sadly, this only really began in the last half-hour or so. However, what the play lacks in a solid narrative, it more than makes up for in whip-smart comedy that we can all understand and enjoy.
ROTUS is also a successful play in a technical sense. The production design is minimalist – we see only a desk bearing the seal of the president, and a few small props. This means that much of the story relies on Douglas’s brilliant ability to switch between voices and the positions of the characters on stage. Douglas brings to life not only Chastity but also her Southern macho colleague, Garrison, and her fellow women pick-me’s, Liberty and Candace. Each character is a reminder of the many ways in which right-wing ideology manifests itself in people – no two characters are the same, they are all distinct, yet their Republican bootlicking is very much evident. Even the president in the world of ROTUS, though not a character, is comically named Ronald Drumf, proving that Douglas is truly unafraid to hold specific politicians accountable.
In an era of political instability, government-mandated acts of violence, and the increasing rage of the masses, stories like ROTUS are as relevant as ever. We place the blame for societal unrest and bigotry on those in power, and while it is right to focus on dismantling the system, Douglas shows us how individuals can also contribute to the reinforcement of these dangerous systems. Although ROTUS is fun for a laugh, it is also a wake-up call to support our fellow humans in this time of need. As Douglas poignantly yet effectively points out at the end of the play, being a ‘pick me’ does not bring you love and respect; only the friendship of your fellow marginalised people will.
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