Smokescreen, at fortyfivedownstairs - 80 minutes, with no interval

The complexities of marketing and manipulation at its finest are on show in a fictional horror show that has real world implications.

It all goes down in the American Midwest 48 years ago, but the effects are felt today.

Going toe to toe are two ad men.

Hero photo by Novel Photographic. All other photos by Nicholas Robertson.

One is a seasoned Southern oil man, the father of two teenage daughters and a heavy smoker, named Glen (Christopher Samuel Carroll).

The other is a whip smart, next generation mover and shaker in the cigarette industry, Bud (Damon Baudin).

Ironically, he doesn’t smoke because he knows it is bad for him.

Both can talk the leg off a chair, but during an extended get together in a hotel meeting room near the airport, called by the elder, power shifts appreciably.

At first, it is Glen who puffs out his chest and waxes eloquently, trotting out his experience.

But soon enough, it is he who is back on his haunches, deeply troubled by the strings Bud is pulling.

Even though electronic cigarette advertising is banned, Bud has supreme confidence that the industry will continue to grow and prosper.

He knows how to work his magic with government, in the media and with the masses.

He mounts cogent arguments as to why the approach he has works.

Glen repeatedly tries to denounce Bud’s overtures and distance himself from him.

But the truth is Glen is in trouble and desperately needs Bud and his box of tricks.

You see, he is privy to oil industry information, not yet made public, that could – indeed, will – adversely affect the planet.

What Bud will say about this intel when Glen takes him into his confidence will shock the latter to his core.

Smokescreen deals with human nature, financial imperatives and scientific certainty or otherwise.

Heavy on dialogue, it involves a highly intelligent and evolved script that is rooted in historic fact.

Christopher Carroll was driven to write the play because of the existential threat of climate change and the lack of meaningful political action to do anything about it.

While the verbal jousting is the undoubted highlight of the piece, the sheer volume of verbiage tends to be overwhelming at times. It could have been pared back.

Still, there is no doubting the potency of its underlying conceit.

The performances are rock solid throughout. Both actors give as good as they get.

As Glen, Carroll is bombastic and indignant, while Baudin plays Bud as cock-sure – the cat that got the cream, if you will.

When we enter the theatre, Glen – dressed in a three-piece brown suit – is already in place at an attractive, oblong, red wood table.

He is puffing away (multiple herbal cigarettes are smoked throughout this production), with whisky in hand.

Behind him is a drinks’ cabinet. Up tempo music, including David Bowie’s Heroes, is playing.

Glen greets his quarry, who is dressed in grey, and the imbroglio – intense and vigorous – begins.

Directed by Carroll, Smokescreen – which runs for 80 minutes without interval – is a reflection of the power plays that dictate a fraught future.

As for truth in advertising, was there ever? To tell it like it is, I don’t believe either of these fictitious men could lie straight in bed.

One protests too much, while the other would sell his grandmother, if he could get away with it.

Any semblance of a moral compass has gone missing, but are you surprised? I, for one, am not!

Smokescreen is on at fortyfivedownstairs until 13^th July, 2025.