Review of ‘In The Print’: “Indelible drama doesn’t bleed enough poignancy”

London’s King’s Head Theatre presents this historical play depicting the conflict between Rupert Murdoch and the printers’ unions. Guillermo Nazara shares his views on the show to let us know if its execution is anywhere near ink-credible.

I’m no fan of Rupert Murdoch. I don’t think anyone who’s been educated by The Simpsons is. And to be fair, I can’t discard the possibility that, to some extent, the real-life version is somewhat the cartoon villain portrayed in this play. Yet, I wish there were more to his character. I’m not talking about redeeming features, but about complexity. Something more elaborate than that, while still twisted, could convey some humanity. Then again, it’s Murdoch that we’re talking about. At least, that’s what the writers will probably say in their defence.

That’s perhaps the only major issue to be spotted in In The Print, which is undeniably providing audiences at the King’s Head Theatre with more dramatic excitement and intellectual stimulation than its flawed and pretentiously titled predecessor, Already Perfect.

This is a story of resilience and sacrifice. Of alliance and commitment. Of resistance against oppression. And eventually, of good against evil — with very little nuance to it. And that’s what’s made its evening edition slightly lowercase.

A ferocious Brenda Dean gathers the guild’s unions to organise a strike against Murdoch’s insidious tactics. A whistleblower has uncovered the media mogul’s true colours. He doesn’t intend to start another publication in his recently opened workshop in Wapping. Instead, it will be used for all the newspapers he already owns, which will transition into digital printing, consequently, erasing thousands of jobs.

It’s a premise that will instantly hook many viewers. Conceptually, it’s of the unusual type — the kind that, if properly aligned, can produce an enduring impression on the viewer. It has grip, resonance, and historical relevance. It feels refreshing. And for the most part, it’s delivered as such, although not to its full potential.

Robert Khan and Tom Salinsky’s action-driven script builds an interesting journey, but its emotional side comes out underdeveloped.

There are no personal motivations except for the collective wish to preserve their rights. Of course, that is a legit call to action, but only on the surface. As much as we can relate to the idea of fighting for decent job conditions, there are additional angles every role requires to be compelling, nuanced, and ultimately able to speak to its audience on a deeper level.

None of those is presented throughout the narrative, which moves at an adequate cadence, but sacrifices- and sometimes, completely ignores -some basic opportunities for poignancy and introspection.

It’s not difficult to imagine how touching the recount would become if the direct aftermath of the strikes were bluntly depicted through the workers’ families. And surely, showing Murdoch’s softer side and contrasting it with his ruthless professional attitude would have made him such a fascinating figure. Wistfully, albeit the entertainment persists, the pathos is in a bind and offset by the text’s excessively event-oriented approach.

The whole cast performs appropriately, occasionally displaying a few strokes of brilliance. Claudia Jolly earns a first mention through her composed yet textured portrayal of Brenda Dean, while Georgia Landers shines by demonstrating broad versatility in her multi-role interpretation. The highest praise goes to Alan Cox as Rupert Murdoch, whose stupendous rendition swarms with magnetism and effortlessly captures the character’s insidious nature.

There’s no question that this play will leave a prominent stamp on the venue’s 2026 season. Yet, its finish is not as satiny as its germ suggests. More laminated characters and additional substance between lines is what In The Print is missing to transition from a developing story into a headline-making show. And that’s precisely the kind of theatre we should be pressing for on the whole.

All pictures credit to Charlie Flint.

In The Print plays at London’s King’s Head Theatre until 3 May. Tickets are available on the following link.

By Guillermo Nazara