Hollywood, 1950. A fading star. A rising one. An agent with an agenda. And a legend who’s seen it all.
THE CODE, written beautifully by Michael McKeever, tells a sad story, showing us that in 75 years, the world really hasn’t progressed very far. Hollywood actors are forced to hide their sexuality and choose between a real life and a staged one, in fear of being rejected. It is a world of masterful manipulation by those who hold the power to make or break a career.
Film actress Tallulah Bankhead stops in for a cocktail at the home of former screen idol turned interior designer Billy Haines, who has news about what he is planning to do next in life – escape the cesspit that is Hollywood. Enter power agent Henry Willson and his all-too-perfect protégé Chad Manford, setting the room alight. In a world where image is everything, and identity must be carefully edited to survive, can any of them break “the code” without losing everything?
Let’s start with the best thing about this play. Actor Tracie Bennett (who doesn’t get nearly enough credit for the work she does) as the unapologetically sharp-tongued actress, Tallulah Bankhead. Every role Tracie plays is a masterpiece and she gives 100% of herself to each role. Anyone who saw her breakdown on stage every night as Judy Garland in End Of The Rainbow will agree I am sure.
Tracie’s performance in The Code is no different. She is funny, quick witted and one of the best actresses of our generation. Even when the spotlight isn’t on her and her character is merely in the background, tears stream down her face with the sadness of the story. The focus isn’t on her in that moment but she does it regardless. That is true talent and dedication to the craft.
John Partridge (Eastenders, BBC; Everybody’s Talking About Jamie, West End; Cats, West End & UK Tour) plays screen idol turned interior designer Billy Haines, whose acting career has taken a nosedive but he is following his natural talent of ‘decorating’.
Solomon Davy (Hairspray, UK Tour; Grease, West End) as Chad Manford, the young blonde wannabe actor, who is being ‘mentored’ by Hollywood agent Henry Willson (Nick Blakeley) and has to decide just how much he wants to make it in this town. How far he is willing to go is tested to the max.
Where The Code really falls down is in its direction by Christopher Renshaw. Performed on a thrust stage, the audience sit on three sides in a horseshoe type configurment. Anyone sitting on the sides is plagued by inaudible dialogue with the un mic’d actors, who spend half the time with their back to you. The blocking is also disappointing as many times the actors are stood in each others shadows, disappearing to the side viewing audience.
Despite these issues (and the incredibly uncomfortable seats) The Code is a brilliant play with some superb acting that is a sad reflection on the state of the world today – told through a 1950’s lense.
★★★★
West End Wilma
The Code plays at Southwark Playhouse Elephant until 11 October 2025.
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