a biting moral tale for our shrill Trump era

The musical highlights the thin and often permeable line between entertainment and politics. exposes the dark side of the American dream and clearly illustrates Lord Acton's famous dictum: “Power corrupts, and absolute power corrupts absolutely.”

With its clear, obvious echoes of Trump, the production is painfully timely and reeks of contemporary relevance. With its scathing critique of Republican values ​​- “blood and hot sauce” – and its merciless portrayal of the sheepish instincts of the American people, it is both polished and lively. But at times it lacks psychological depth and a clear moral message, beyond the fact that agitators like Trump are dangerous and extremely bad news.

Despite the somewhat formulaic and predictable development of Rhodes and Jeffries' personal and professional relationship and the somewhat bumpy second half, both the protagonists' subsequent decline and the play's resolution are emotionally powerful.

Stavros Demetraki is strong as the oily, morally repugnant TV agent Joey De Palma, and in the ensemble cast, Sadie-Jean Shirley is clearly a star on the rise – lithe, seductive and utterly captivating.

Directed with great verve and forbearance by Kwei-Armah, his farewell production is full of lively, rousing numbers and stirring ballads, carried by the impressive vocal range of the main actors and supported by Anna Fleischle's generous, skilfully implemented stage design.

Fully paid-up members of the Kwame fan club – those who kneel before the messianic, African-robed, demigod director – will no doubt love this show. Others may see it as a safe, solid exit. Either way, it's a thoroughly entertaining, very well-acted and cleverly choreographed production with impressive, if not outstanding, lead actors.

The indomitable Kwei-Armah was undoubtedly an uplifting, inspirational and groundbreaking force for good as the first (and sadly so far only) black man to lead a major British theatre – a clearly commendable achievement. As such, he will be sorely missed, but I am now excited to see what his successor, Nadia Fall, does next.

Until November 9th. Tickets: www.youngvic.org