The Assassination of Katie Hopkins, Theatr Clwyd, Mold, review: New musical explores the sensationalism of our news cycle

Chris Bush’s self-referential satirical musical imagines the reaction to the death of Katie Hopkins

Genesis Lynea in ‘The Assassination of Katie Hopkins’ (Sam Taylor)

The Assassination of Katie Hopkins imagines what the media and popular reaction would be were the former Apprentice star and nationalistic provocateur to die this summer.

Predictably, Hopkins has been furiously damning the play from the moment the title was announced, which is proof of this musical’s central conceit that in a world of empathy deficit and apathy it’s only the sensational stories that can be heard above all the noise, true or not.

The musical begins with written lines about how every word in the play is taken verbatim from the reality of an event that hasn’t taken place yet. The words appear on a wall made out of light panels that look like the back of mobile phones, and the multi-media components are integrated with the action on screen.

It’s a satirical, self-referential start that places the production in the vogue of theatre directors using the musical genre – London Road, Enron and Jerry Springer: The Opera – to discuss big news stories and the reporting of them.

But does it pay respect to Katie Hopkins? Writer Chris Bush asks that question within the play when she shows debates within editorial rooms, and radio discussions, about how best to talk about the life and death of such a divisive public figure. On the streets of Glasgow, drunken revellers are celebrating her demise, comparing their vitriol to feelings emoted towards Margaret Thatcher.

On the other side, a report written into why Hopkins was popular cites her powerfulness, work ethic, honesty, humour, cleverness and undeterred belief as attractive qualities. The infatuation with Hopkins really hits home in the songs about wanting to live in Katie’s world and her impact on society. Matt Winkworth’s score riffs on the sounds of the modern digital landscape.

Compared to talking about Hopkins, what chance of being heard have news stories about deaths in fires – a nod is made to Grenfell Tower in the story of 12 innocents dying in a blaze – racism, sexual discrimination and attacks at the workplace? These are prominent strands in The Assassination of Katie Hopkins, as is a look at how the legal system is not designed to aid the disenfranchised and poor. In this world ruled by a social media network of rumours, the poor barely even register.

The desire to make so many points and express so many viewpoints means that the play, in its current guise, has a lot of seemingly superfluous scenes. The cast of eight play multiple characters and the stories change rapidly, disorientating the viewer; it lacks a Howard Beale-style character to hang onto.

The two characters who make the most impact are Shayma (Maimuna Memon), an intern at a law firm who wants to help those affected by the fire, and charity worker Kayleigh (Bethzienna Williams), who flips sides and becomes a fan and figurehead trying to keep Hopkins’s memory and beliefs in the public eye.

An actor who was ill didn’t reappear after the interval, but it had less impact than it might have had if this scattergun approach had not been taken. Indeed, her absence almost going unnoticed added to the play’s point that if something is of out of sight, it’s also out of mind.

Until 12 May (theatrclwyd.com)