Set in the 1980s, this drama is centred on the conflict between Brenda Dean, the General Secretary for the Society of Graphic and Allied Trades, and infamous newspaper tycoon Rupert Murdoch.
As this (true) story unfolds, we see Dean, the first female leader of any major British trade union, trying to safeguard jobs for her members while Murdoch, frustrated with the use of the old-fashioned ‘hot metal’ presses, wants to bring in new technology and disrupt established working practices. The old presses were often unreliable and were controlled by powerful union shop stewards who could halt a night’s print-run and hold the newspapers to ransom. Print workers could work as little as 16 hours per week but still earn over £1,000 per week (although the work was described as ‘back-breaking’). When Murdoch’s new printing technology threatened the jobs of over 5,000 workers, it resulted in strikes that lasted for over a year. There were violent clashes with the police and even the loss of a life. Colloquially known as the ‘Battle of Wapping’, this was a pivotal moment for British society and the last big flexing of the enormous political muscle that the labour unions used to have.
The play does a very effective job of providing the information needed to understand the context of inter-union rivalries and the relationship between Dean and Murdoch. The dialogue by established writing duo, Robert Khan and Tom Salinsky, is fast-paced, but has clarity and wit, and is delivered by an excellent ensemble.
Claudia Jolly as Brenda Dean puts in a sterling performance. She is on stage for pretty much the whole 90 minutes of this interval-free play. In-between her interactions with Rupert Murdoch (Alan Cox) and the other characters, Dean acts as the narrator for the play. She describes the timeline of activities as they occur, year by year, and gives us an insight into the political temperature in the print industry. Cox is a joy to watch and delivers a believable Murdoch. Strong-willed and wily but professing, ‘I’m a simple man. I just want to print some newspapers,’ a quote we come back to throughout the play.
There is no set, other than an occasional table and chairs, and a string of hooks holding coats that the actors don to portray different people. We get to meet Sunday Times Editor, Andrew Neil, Sun Editor, Kelvin Mackenzie and others who add context and humour. The supporting cast are portrayed by Alasdair Harvey, Russell Bentley, and Jonathan Jaynes, who swap effortlessly between characters with the changing of a jacket. Georgia Landers as the lawyer, Joan Harrison, offers calm amongst the arguments, but there is more potential in this role for the character to flourish.
As a Londoner who lived through this era, I remember those turbulent times. The play made me reflect on how much has changed and made me want to find out more (I see Dean wrote a memoir called Hot Mettle in 2007). But first-hand experience is not necessary to enjoy this play. With its strong writing, fine performances, and excellent direction from Josh Roche, In the Print is very accessible even for those not familiar with the political situation of the 1980s. It is very refreshing to see a play that approaches its story in such a clear, linear way (no flashbacks here!) and provides a concise, understandable account of history, yet remains intelligent, thought-provoking and highly engaging.
Review by Fiona Gilbert
It’s 1985 and Brenda Dean is the first woman to lead a major British trade union. But she quickly faces a crisis as Rupert Murdoch unleashes his clandestine plans to revolutionise the production of British newspapers.
With 5,000 jobs on the line and the future of newspapers in the balance, she decides to take on Murdoch and his growing global media empire. But with time running out, and Murdoch’s influence expanding, can she pull together the might of the unions to bring him down?
Cast
Rupert Murdoch | Alan Cox
Andrew Neil | Alasdair Harvey
Brenda Dean | Claudia Jolly
Joan Harrison | Georgia Landers
Bill Sargeant | Jonathan Jaynes
Kelvin Mackenzie | Russell Bentley
Creatives
Writers | Robert Khan & Tom Salinsky
Director | Josh Roche
Set & Costume Designer | Peiyao Wang
Lighting Designer | Josh Gadsby
Sound Designer & Composer | Sarah Spencer
Casting Director | Harry Gilbert
Dialect Coach | Simon Money
IN THE PRINT
King’s Head Theatre
26 March to 3 May 2026
