Directed by the Almeida’s Artistic Director Rupert Goold, Tom Hollander (The Night Manager, Travesties) stars as Boris Berezovsky in Peter Morgan’s (The Crown, The Audience, Frost/Nixon) new play Patriots. 

Set in Russia and the UK from the early 1990s to 2013, Patriots charts the rise of Vladimir Putin (Will Keen) via the tale of “kingmaker” Berezovsky, the Russian oligarch who pulled strings to progress Putin from deputy mayor of St. Petersburg to the Kremlin. Berezovsky, underestimating the president as a “puppet” for his own ambitions, moves from Putin’s inner circle to his enemy. Facing death threats, Berezovsky seeks exile in the UK.

The play also features Roman Abramovich (Luke Thallon) as “the kid” with a pipe dream, “literally a dream about a pipe”  (we chuckle), who at first admires Berezovsky as they go into business together. Berezovsky also befriends Alexander Litvinenko (Jamael Westman), the former officer of the Russian Federal Security Service (FSB) and prominent critic of Putin, who was murdered by radiation poisoning in London in 2006.

Miriam Buether’s set, a crucifix walkway lit in crimson acts as Berezovsky’s office, a bar, inside the Kremlin and catwalk for important speeches. It suitably has the feeling of an underworld, with bar stools positioned around the cross at stalls level, where characters sit having conversations with others on the stage. 

Veering between charm and fits of rage, Hollander is enthralling and funny as the acerbic and ruthless Berezovsky. He ostentatiously dances around the stage. As his influence erodes and swagger fades, Hollander is equally convincing as the broken Berezovsky realising his part in creating a monster.  

Keen is chilling as Putin. Never a caricature, his performance is so convincing it sends shivers down the spine. At first repressed, as his obsession with power increases his hands quiver and he stares at his reflection in the mirror. We see the internalised anger in his eyes. 

We would have like to see more of Westman who has great stage presence and is a likeable character. 

Rupert Goold’s direction takes us back to Berezovsky’s childhood to lessons with his maths professor (showing he’s a genius). Opting to have Hollander play himself as a child, the scene changes neatly fit into the narrative. 

No one speaks in Russian accents and supporting characters are mainly assigned regional twangs. Litvinenko is a scouse and one of Berezovsky’s young girlfriends is French. Whilst this gets a few giggles which we suppose is meant to show what kind of character the actors are playing, it feels at times stereotypical and occasionally random. 

As we have come to expect from Morgan, we get a perspective on the inside workings of modern political history. It has something to say about how the West try as it might, will never understand how Russia works. The dialogue is witty and intelligent. Written before Russia’s invasion of the Ukraine, it’s pertinence makes for quite a frightening watch, but perhaps at times the dark comedy lacks a little sensitivity. 

*** Three stars

Reviewed by: Victoria Willetts

Patriots plays at Almeida Theatre until 20 August, with tickets available here.