This is part 1 of a series of reflections triggered by the musical, A Face in the Crowd, playing at the Young Vic Theatre. Less review and more a collection of thoughts that the show provoked in your faithful bee, this essay contemplates the importance of performative showmanship (and its undue influence) in decisions that should ideally be untouched by performative power.
The Young Vic’s production of A Face in the Crowd transports audiences to 1950s America, a period when television was beginning to assert itself as a powerful new medium, capable of shaping public opinion in unprecedented ways. Adapted by Sarah Ruhl with music by Elvis Costello, the play charts the rise of Lonesome Rhodes, portrayed with electrifying energy by Ramin Karimloo. Discovered by radio producer Marcia Jeffries (Anoushka Lucas), Lonesome’s ascent from a charming, small-town entertainer to a national media sensation is swift and thrilling. His folksy, unfiltered persona wins over audiences, catapulting him from radio to national television. Yet as his fame and influence grow, so too does the darker side of his personality, raising critical questions about the seductive power of media, the nature of charisma, and the ease with which the masses can be manipulated.
Charisma and Irrational Appeal: Why Do We Follow?
Watching Karimloo’s magnetic performance, it becomes clear how easily charisma can substitute for competence in unrelated areas in celebrities. Karimloo’s Lonesome Rhodes is witty, unpredictable, and deeply charming—a character who understands how to speak to the “everyman” and capture attention through sheer force of personality. But when society begins to turn to television entertainers for political guidance, it gives the bee pause. Would you have Taylor Swift perform your next surgery or fly the next flight you take? Swift is famous, influential and talented, but her talent in music does not make her a competent surgeon or pilot. Yet, somehow, we allow celebrities to tell us what to buy (from vacuum cleaners to hair products and everything in between), and crucially, whom to vote for.
Costello’s score plays a crucial role in constructing Lonesome’s appeal. Spanning a variety of American musical genres—from folk and blues to gospel and country—the score is not just entertaining; it imbues the character with such endearing qualities that it moulds the crowd’s perceptions without them even realizing it.
The production underscores this by blurring the boundaries between what’s real and what’s performative. At intermission, ushers distributed small American flags to the audience, transforming them into participants in a campaign rally during the second half. It was a clever and subtle way of showing how people are drawn into the spectacle. The actors move through the audience, flags wave, and people cheer. The production’s immersive approach draws the audience into this world, forcing us to confront the ease with which we, too, can become part of the show.
Are We As Rational As We Think?
Watching A Face in the Crowd, the bee was reminded of how fragile our sense of rationality can be. Lonesome Rhodes could easily be a contemporary figure, one who rises to prominence not because they have answers, but because they know how to hold an audience. Perhaps this is the most unsettling aspect of the play: it reveals that we are not immune to the lure of charisma, that we are not as detached and rational as we might like to think.
The play did a remarkable job in illustrating this in visceral detail. As Rhodes’ influence grows, the play sheds light on the machinery that elevates such figures, exposing how the desire for spectacle and the thrill of entertainment can so easily give way to manipulation. If we found ourselves laughing, cheering, or even feeling a little star-struck by Lonesome Rhodes, what does that say about our susceptibility to charisma?
As the bee left the theatre, it couldn’t shake the feeling that the thrill it experienced could easily be co-opted by someone with less benign intentions. A Face in the Crowd offers a timely, poignant reminder that if we want to understand the appeal of charismatic leaders, we must first confront our own vulnerabilities. It’s not just about the figures who lead us, but about the mechanisms by which we allow ourselves to be led, willingly or otherwise.
To be continued.
This was Part 1 of a three part series. Here are Parts 2 and 3. A Face in the Crowd runs at the Young Vic through 9 November 2024.
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