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To cut a long story short, this show is about the big bad press. Nothing new there: if you want to know about corruption in a world of headlines and no copy, the National Theatre's latest hit ‘Great Britain’ is for you.
But in the interests of principled journalism I should say ‘Long Story Short’ is sexy as hell – pulsating with whirling kaleidoscopic energy. And while there’s nothing particularly new about that either, with Andrew Whyment’s vivid staging drowning in visual references to ‘Enron’, it’s going to ensure this piece is a hit.
Even though it sometimes feels trussed up in someone else’s clothes, this is a classy production. The narrative jumps between the '60s-set story of an upstart Australian called Rupert who’s hell-bent on taking over a little paper called News of the World, and a present-day storyline about 16-year-old Jamie's attempts to help use the media to help find his missing in action soldier brother.
Fragmented into short scenes that interlink with choreographed sequences, Whyment and movement director Kane Husbands sculpt the action into a fast-paced joyride that is strongly performed by a tight ensemble cast.
Georgia De Grey’s design champions transparency, with the mechanics of the production are in full view. A backing wall of LEDs flashes arbitrarily but bring a dose of paparazzi glamour.
Aaron J Dootson’s pinpoint lighting is the sort that makes for great production shots and although Rhys Lewis’s score strongly echoes ‘American Beauty’ it forms a melodic landscape that evokes oodles of atmosphere.
At one point there’s a disturbing jolt of modern resonance as Jamie confesses he’s afraid his brother will turn up in front of a camera with a machete at his neck. But ‘Long Story Short’ isn’t bothered about actual news like that. It’s interested in how to make the story of our vacuous modern media world seductive, which is slightly ironic. But then maybe I’m just being a spoilsport; this is Murdoch the Musical and golly, it’s a bracing ride.