In the new Caryl Churchill play being given its world premiere at the Public Theater, a beautiful blond press secretary delivers a briefing in which she makes boastful, grandiose claims extolling the greatness of the leader for whom she serves. No, it’s not a quick docu-drama about the short-lived tenure of the ill-fated Katie Zacharia but rather Triumph, inspired by Seutonius’ history The Twelve Caesars.
It’s not hard to discern the parallels in this 20-minute work being presented free by the Public (that is, if you can score tickets) and receiving a simultaneous production at London’s Almeida Theatre. But even though its satire is not exactly subtle, the short work directed by Saheem Ali is a sharply written sketch illustrating how history tragically repeats itself.
It begins with a passionate make-out session between Iris (Annaleigh Ashford, most recently on Broadway in Sweeney Todd and Sunday in the Park with George) and Marcus (Joe Tapper, Ashford’s real-life spouse). The dalliance is soon revealed to be not well-advised, since Iris is the press secretary for the Emperor and Marcus is a member of the press who regularly attends her briefings.
The couple quickly have to curtail their romantic encounter because Iris has to go to work. Donning an elaborate blonde wig, she addresses the journalists with a paean to her employer, including such things as how he’s installing genuine marble everywhere, building a golden throne, and naming a month after himself.
A lurking functionary (Christopher Ryan Grant, Thanksgiving Play) clearly approves of her spiel. “Excellent work,” he tells her when she’s done. “The Emperor is happy.”
Cut to Iris and Marcus in her bedroom, from where she is about to deliver her next presentation. She’s “working from home,” she explains to Marcus, warning him not to get in her camera line. He gets frisky nonetheless, which doesn’t stop her from fulfilling her duties. But after he tells her of the many atrocities the Emperor has committed, the tone of her next briefing is very different. In a fit of conscience, she graphically describes her employer’s horrific abuses, telling the truth for the first time. She naturally expects severe punishment for her transgression, but the play ends on a surprising note.
The parallels between ancient Roman times and the present day are broadly drawn and obvious (look carefully at the way the word “Triumph” is spelled out on the program), but the concise running time, Churchill’s acerbic writing, and Ashford’s strong performance fully mining both the zany humor and scary relevance of the play make Triumph a rewarding if brief experience. And you certainly can’t beat the ticket price.
Triumph opened October 8, 2026, at the Public Theater and runs through November 3. Tickets and information: publictheater.org
