Showing @ Traverse Theatre, Edinburgh until Sat 20 Apr (now finished)

The supposedly universally appealing glitzy hyperrealism of today’s popular culture, is brought under scrutiny in Rob Drummond’s punchy new text. He examines the seedy underworld of this phenomenon, through blackly comic moments balanced against tender scenes of reflective compassion. Presented by suave national treasure Daniel Caplin (Jonathan Watson), False! has been running for over a decade. In the latest episode of the quiz show institution, newcomers Ben (Paul Thomas Hickey) and Sandra (Eileen Walsh) challenge returning champion Molly (Gail Watson). However as filming progresses, a murky secret simmering behind the disingenuous compliments and sycophantic grinning, bubbles over onto the stage.

Director Hamish Pirie breaks the conventional fourth wall by doubling the play’s audience as False!’s, applause even encouraged by floor manager Gerry (Steve McNicoll), linking the on stage action to that of your own life. From Caplin’s opening cheesy preamble and aided by Andrew D Edwards’ glitteringly kitschy set, we’re plunged into the pretentious and artificial world of TV glamour, paralleling the broadcast’s title, uttered so numerously it enforces the idea of deceit. This is reflected humouredly in Molly’s forced pleasantries and Caplin’s tired banter but is also used as a biting comment on modern society’s showbiz obsession.

Sandra’s rejection of “the news”, preferring instead to surround herself with the comfortingly simple world of entertainment television, reveals a mindset that knowingly pushes uncomfortable truths aside which, (without ruining the ending) is at the heart of Drummond’s startling script. Walsh is staggeringly impressive as the timid, star-struck contestant who grows into a tour de force of emotions, showing the consuming and damaging effects of self-denial. The dark and unexpected turn in the plot dispels the bubble like belief, that those who carry the title of celebrity are somehow higher in status simply because of their career. It strips away their glossy veneer and exposes their humanity. Drummond’s blistering play is a much needed and pertinent comment on the misplaced idolisation of the entertainment industry.

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