We are greeted by Maggie Barry – charmingly played by Sasha Tilly – whose command of “the rayo” in her mihi is as impressive as her geographical awareness (well Circa Theatre is only a five-minute walk from BATS Theatre and which does she patronise more often, if either?).

The premise is that the Beehive is in lockdown thanks to an outbreak of a fruit-fly-borne virus that makes people insane before they die a terrible death. As it happens this gives the No Fefe Collective* an out for being oblivious of the political topic de jour: The Panama Papers – although there are times when the lethal virus almost achieves allegorical status as representing anything that endangers the wellbeing of politicians.

I think there are veiled references to the Marvel Civil War film as superhero tropes do sneak in every now and then. But it is not a developed element so seeing the movie is not a prerequisite.

As with Who Dunnit last year, the main satirical point is that politicians are self-interested, otherwise it is simple lampooning. Thus it does fulfil the objective co-writer Thom Adams offers in his programme note: “The people running this country need to be told that they are acting like a bunch of dickheads sometimes.”

The more you already know about what’s going in NZ politics, the more entertained you will be. “It’s called Public Service Announcements because it was originally intended for people in the public service,” says the other co-writer, James Nokise in an OnMag interview, “but really it’s for anyone who wants to laugh at the insanity of Kiwi politicians.”

If you are aware of the plight of Helen Kelly and fellow sufferers of cancer-inflicted pain, you will feel a grim satisfaction at the irony of the predicament Peter Dunne finds himself in and the remedy he is desperate to find. This gives the show a spine (if that’s the right word for Dunne) and a spectacularly coiffed Hayden Frost revels in reprising the role.

Frost also plays a formidable Judith Collins and a boyish David Seymour before capping it all with a brilliant impersonation of … [I have been asked not to reveal who] … delivering the superbly crafted ‘take home’ message that finally gives the show real punch. This is underlined by an epilogue from Alan Henry’s Winston Peters, delivered with the snarly charm we’ve come to love/hate him for.  

Meanwhile we are treated to infighting within the party factions as some among them attempt to forge alliances that are anathema to others.  

Benjamin Crellin delivers the most interesting portrait of John Key yet. Alex Greig reprises his Bill English with clear deliveries but no attempt at impersonation or caricature; likewise his Grant Robertson (Wellington Central), who is yet to be well-served satirically in the scripting (hasn’t he become synonymous with ‘The Future of Work’?).

Maria Williams makes an excellent fist of Steven Joyce, although the sex-toy ex-missile he clutches promises more than it delivers – which may be the point. Tilly’s Maggie Barry is non-verbally eloquent in her response to John Key’s fetishist stroking of her hair. And, having achieved high impact with his decisive Kelvin Davis, Salesi Le’ota completes the National clutch with his beloved Hekia Parata.

Heading the Labour camp, Louis Tait’s Andrew Little generates chuckles with his chronic inability to overcome the casual racism and homophobia left over (we surmise) from his years in the union movement. The wallops he gets from Annette King’s massive duster are memorable – as is Hannah Clarke’s excellent impersonation.  Clarke also has a strong early cameo as Hilary Barry.

Anya Tate-Manning is on top of her game as Jacinda Adern, not least with the relish that courses through her as more and more news arrives of the terrible fates that have befallen her colleagues as the virus spreads. The long-running gag of David Parker being accounted of no value is poignantly reprised by Thom Adams.

Carrie Green co-leads the Green Party as a robust Metiria Turei, well-contrasted with a white-bearded Te Ururoa Flavell, accompanied by Maraea Rakuraku as his poi-wielding Māori Party co-leader Marama Fox.  

The other Green co-leader, James Shaw, is intriguingly played by Luke Baker with Michael Trigg’s Gareth Hughes continuing his vain efforts to be taken seriously. Trigg also does a semi-hysterical turn, in the prologue, as Paul Henry. 

NZ First continues to make its mark with the whiskey-swilling Winston Peters at its epi-centre. Aidan Weekes is strangely compelling as Winston’s every attentive side-kick Tracy Martin – and he delivers an excellent piece from the ‘suicide door’ too (as a character I have been asked not to reveal).   

This iteration of PSA is more rehearsed and polished, and better paced, than previous PSAs have been – and for that director Patrick Davies must be commended.

While PSA Civil War continues to operate at the level of equal-opportunity ridicule rather than incisive, pertinent satire it does – as mentioned above – work up to making a powerful point we have to hope all potential voters will get.
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‘Fefe’ is the Samoan word for fear.

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