This is a play about the men (CIA) behind the curtain. It gives an alternative, and deeply disturbing theory on events that have shaken American politics since the 60s. A must if you’re a fan of conspiracy theories, and the secret games of the powerful.
As you enter the pitch black performance space in Theatro Technis, the fringe venue next to Mornington Crescent station in North London, you are welcomed by the eerie shadows of masked men lined up to the back of the stage. Standing on a platform, all in black suits and ties contrasting the silver whiteness of the masks, the cast of We, Macbeth greet you in silence. There’s a poster of Kennedy on the wall, a big projector screen hangs to one side, and on the opposite end, cast member sits in front of a small table with a typewriter.
The play starts with Allen Dulles and James J. Angleton recalling the events of Operation Macbeth – the plot woven from within the American political elite to assassinate President Kennedy in 1963. The two men speaking are the CIA director and chief of counterintelligence. Kennedy, or Bambi as they like to refer to him, is acting out of character trying to be the president. These men expect absolute submission from the public-elected officials: after all, they haven’t been talking about fascism being the way forward for nothing. As they recall the plan, videos start playing on the projector, visually backing up their words; how American citizens were psychologically prepared to expect a catastrophe, due to the unorthodox behaviour of the president during public events, the symbolism of an umbrella as metaphor for the Cuba crisis, the video featuring the murder…
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