This thought-provoking play examines eco-protest from a new angle: that of media reporting. At the centre of the play is an individual who has been complicit in an environmental disaster cover-up, weakly excusing himself by declaring , ‘They’re all at it’. Individual responsibility, however, is only one of the issues examined in this complex and gripping work..

Water pollution by unregulated corporations is a familiar topic in recent films. In ‘Erin Brockovich’ (2000) and ‘Michael Clayton’ (2007), law-suits spear-headed by individuals are a source of suspense and high-stakes conflict. This play goes two steps further to ask ‘How could eco-protection groups ensure a positive media image?' and 'How far should they go to attract media attention in the first place?

In a hide-out somewhere in Washington, a burly Guevara look-alike in camouflage pants and bullet-proof vest, stands guard over a hooded hostage. Victor (Noah Lee Margetts) heads a group of ‘Eco-warriors’ and waits for news of a car-bomb attack on the White House. He is also waiting for Jessica Lyons (Kosha Engler), top TV news presenter, to whom he has promised an exclusive interview, with certain conditions. Cathy (Siri Steinmo), his subordinate, reports the success of the mission master-minded by Victor: eleven senators have been killed with more injured. She disapproves of Victor’s decision to involve the media but he is determined to start a ‘world revolution’ of like-minded people who will strike against indifferent industries governments alike. He means to make sure his aims are properly reported, not just dismissed as the actions of a psychopath. The death of thousands of people by contaminated water is also, he says, ‘pre-mediated random violence.’

The quartet of characters is cleverly contrasted. Victor, bull-like in his determination, contrasts with animal-lover Cathy, sporting blonde corn-rows and a Sigourney Weaver jaw line. She joined Victor after being traumatised by a rare-species road-kill. Her ‘foxhole buddy’ Martin, blown up with the car in an apparent suicide-mission, is remembered with affection by hostage David Darling (Richard Sandells).

The TV presenter’s arrival introduces confrontation. Self-regarding careerist Jessica wants to bolster media stereotypes and interview the hostage; Victor hopes publicity will provoke copycat actions ‘across the world’. The ends will justify the means. He is aware that the media will demonise him and constantly interrupts the videotaped interview with objections, as when Jessica crosses her legs to distract viewers whilst he’s talking to the camera, or her use of the word ‘terrorists’.

Whilst the acting of all four is strong, it is Richard Sandells as the hostage, projecting eagerness to please, whose performance is the most convincing. His plaintive catchphrase ‘May I ask a question? echoes the archetypal Willy Loman in ‘Death of a Salesman’. As ‘prize’ coveted by Jessica and bargaining-tool for Victor, he is apparently the eponymous Cat’s-Paw. As the play develops we find out he is not the only one.

The sense of an outside world thrown into chaos is conjured by excellent sound effects. Voiceovers of news reporters describing the catastrophe are heard in the auditorium before the play starts, while helicopters roar overhead at intervals, provoking nervous reactions onstage. Victor, a remote device in hand, is alert to outside signals and ready to set off booby traps and alarm systems.

The intimacy of the King’s Head Theatre space adds to the sense of claustrophobia and tension, given the volatile presence of Victor and his arsenal of weaponry. He even boasts of buying nerve-gas canisters cheap at auction. The violence which erupts at the end of the play allows a physical resolution to the tension, but the identification of cat’s- paws in this harrowing drama engages the mind long after the play is finished.