Caryl Churchill’s Serious Money is a fast-paced, cutting satire based on the Big Bang financial revolution of 1986 and the ensuing deregulation under Thatcher’s government. First staged at the Royal Court Theatre in 1987 as a story of the greed, inconceivable excess and corruption of the City at the time, it remains uncomfortably relevant today.
Insider trading and corporate raids, transatlantic arbitrage and access to unremitting Peruvian imports create a dark web through which Scilla Todd tries to navigate not only the heavily male world of work, but also to find answers relating to the suspicious death of her brother, Jake (Jack Reilly), a key player in some dubious tip-offs. Scilla, embodied by an outstanding Felicity Green, navigates the bustling madness of this otherworldly environment like Alice stepping into Wonderland.
Along the way, we encounter phenomenally entertaining and memorable characters. Eleven actors play 45 characters in this bold, gripping production from Mad Spirit, delivering their multitude of roles with impeccable timing, precision and exceptional craft. The trading floor is right up to the front row, while the layered lines, all incredibly written in rhyme, and deliberate chaos, draw you into a production that is true to the unfathomable pressure and bustle of the City. This reflects the uncanny and unflinching observations of Caryl Churchill herself, who researched the world by taking time on the trading floor, with particularly striking observations on the treatment and response of women in this environment at the time.
Particular standouts include Green’s mastery of her journey as Scilla, the mind-blowing character switches of Yasser Kayani, and Jonathan Hansler’s fantastically commanding portrayal of Billy Corman. A captivating Tracey Kearney plays Marylou Baines, a dark, playful transatlantic powerhouse rooted in Wall Street philosophy: “Greed is all right. Greed is healthy. You can be greedy and still feel good about yourself.” She also delivers wonderful comedic moments as water-cooler-chatting Kathy – “we’ve all been out with Terry” – and through her physical comedy as Mrs Carruthers.
An audience favourite was Yemisi Windapo, who delivered seven characters, star stage presence, comedic micro-expressions like no other and a wonderful Brummie accent. Ben Pugh-Cook was flawless as Zac Zackerman, and Ben Seigler commanded and embodied his roles brilliantly, a truly fantastic performance with a personal favourite being his turn as a Tory MP-cum-pigeon scheming on the roof of the National Theatre. All cast were tremendously impressive.
The intermittent narration and pacing, with clear use of lighting and staging, allowed the audience to follow the intentionally frenetic pressure within this highly entertaining story. The production manages to maintain the chaos and energy of the trading floor while giving the audience enough structure to follow the story and its many characters.
Mad Spirit’s bold production was an inspired choice from sibling duo Charlotte and Douglas Taylor, whose previous work spans Shakespeare and original drama. The Courtyard Theatre provided an ideal setting for this thoroughly enjoyable staging of Caryl Churchill’s satirical genius. A directorial triumph: audacious, assured and deserving of a much wider audience. Although the short run has now sadly ended, this is a production that deserves to return. Keep an eye on Mad Spirit Productions for news of future shows.
