"Is that the truth, or you interpretation of it?"
In the midst of the Troubles, the 1988 shooting of three Provisional IRA terrorists outside a petrol station in the rocky outcrop of Gibraltar might have just been one amongst many atrocities but a number of factors conspired to turn it into an even more controversial event. Alastair Brett – a former Sunday Times lawyer who was intimately connected to the media storm that erupted – has co-written Gibraltar with Sian Evans, to relook at the killings and the press coverage that followed to examine the point where journalistic ethics crossed swords with both the British political establishment and the IRA itself to become responsible for, they argue, a huge obfuscation of the truth. But the resulting play, and James Robert Carson’s production of it which currently sits in the smaller of the Arcola’s studios, is as rough as the bare brick of the theatre’s walls.
An uncertainty about the play’s dramatic purpose is evident from the outset. Based as it is on real events and using the direct testimony from Parliamentary debates, legal offices and official reports from police and magistrates, Gibraltar seems to spring from the verbatim tradition, a feeling reinforced by short scenes and the small company covering a multitude of different roles. But bolted onto this is a contemporaneous, fictionalised retelling of events from the journalistic perspective - the seasoned old hack contrasted with the ambitious eager rookie – trying to demonstrate how their varied attempts to pursue the best story possible and/or uncover the truth play out.