“It is refreshing to work with somebody who refuses to be depressed even by the most formidable danger that has ever threatened this country”
Set predominantly in the Cabinet Office at 10 Downing Street between 26th and 28th May 1940, at a point when Hitler’s lightning sweep through Europe had pushed Belgium and France to the point of surrender and trapped large numbers of British troops, Ben Brown’s new play Three Days in May looks at the weight of responsibility that fell on Churchill and his War Cabinet. Behind closed doors, the prospect of going it alone against the Nazis was weighed up against the possibility of suing for some kind of peace terms at a pivotal point in British history, played here in a Bill Kenwright production at Richmond Theatre, part of a UK tour.
There is little drama in Brown’s play – given that much of the history is well-trodden territory and the ‘action’ revolves around a series of Cabinet meetings and the politicking inbetween, this is hardly surprising. But there’s little attempt by Brown, or by director Alan Strachan to really address this through an alternative approach and so what we are presented with is curiously flat and weighed down through overuse of silences. Imposing a narrator – Churchill’s young private secretary Jock Colville – to frame the play and loading him with exposition and historical detail makes for a difficult opening, more akin to a history lesson, and the first act – perhaps even the entire play – never really escapes this to kick into life.