It all comes down to a cigar – the Edinburgh smoking ban only months old, Mel Smith made headlines (theatrical headlines, which, to be fair, look more like shoulder lines) when he protested his legal inability to light his cigar while playing Winston Churchill- who most of us agree would have made some cutting witticism in the name of  lung cancer.  But Mel Smith followed the rules and the Cuban papers remained unlit- as did my expectations for the show, rolled and ready, but too regulated to satisfy.

Allegiance explores the negotiations between Irish rebel Michael Collins and Winston Churchill during Collin’s visit to London in 1921.  As history books or Wikipedia will tell you, the Irish were unhappy with remaining a dominion to the UK- and sadly, Michael Collins was shot on the 22nd of August, 1922. 

The script, as written by Irish writer and historian Mary Kenny, is obviously well researched and informed- shedding insight onto a layman’s vision of the ideal of an Irish Republic.  The strongest elements of the script lie in the banter between Churchill and Collins, played by Michael Fassbender, Collin’s great grand nephew and a recognizable face from Spielberg’s series “Band of Brothers.”  There were moments of such startling realism in the production as to leave me questioning whether I really was watching Collins and Churchill- the actor’s performances breathed life and character into history.  Mel Smith’s Winston Churchill rivals Albert Finney’s in the “The Gathering Storm.”  Smith perfectly captures the persona of Churchill- lovable drunkard and emotional but reasoning statesman.  Fassbender is also incredibly convincing as a beautiful, sensitive, dangerous and sad Michael Collins- entrusted with the unbearable load of defending the hopes of an independent Ireland.

The strengths of the show- primarily the flawless and inspiring pairing of Fassbender and Smith, stood out as strongly as the production’s weaknesses.   The set consisted of a reproduction of a wealthy British library- but very few of the props were used or at all necessary.  Set design seemed to scream money with no creative way to use it.  The script also disappointed the performers.  The play is poorly structured, featuring a  narrator who is completely superfluous to the story itself, and who also appeared to be on script during the performance I attended.  History could have revealed itself through dialogue had the playwright, historian Mary Kenny had more faith in her own characterizations and given more credit to her audience.

And so, just as Mel Smith would argue that the ban against second hand smoke, sensical when applied to a bar, seems ridiculous in a theatre, I would argue that the rules of a history book are ridiculous when applied to a play.  This was a production with a lot of potential that disappointed itself in playing by the wrong set of rules. Maybe Mel Smith just should have gone ahead and lit the cigar.

Assembly Rooms, George Street, Edinburgh (0131 226 2428)
6th- 28th at 11:00 am