Imagine a story so bold, so provocative, that it dares to explore the assassination of one of the most polarizing figures in modern British history. But here’s where it gets controversial: Hilary Mantel’s gripping tale, The Assassination of Margaret Thatcher – August 6th 1983, is not just a piece of fiction—it’s a psychological thriller that’s now leaping off the page and onto the stage in Liverpool. And this is the part most people miss: it’s not just about Thatcher; it’s about class, power, and the voices of those who feel silenced. Is it too daring, or a necessary examination of history?
First published in The Guardian in 2014, Mantel’s story was inspired by her own fleeting encounter with Thatcher in Windsor. From her flat, Mantel spotted the then-Prime Minister in a nearby hospital garden and thought, ‘If I were someone else, she’d be dead.’ This chilling moment became the seed for a narrative that intertwines the personal and the political. In the story, a woman expecting a plumber instead opens her door to a gunman intent on using her flat as a vantage point to assassinate Thatcher, who is undergoing an eye operation nearby. The gunman’s motive? ‘Ireland. Only Ireland.’
Now, Alexandra Wood’s stage adaptation, directed by John Young, is set to premiere at Liverpool’s Everyman Theatre in May. Young emphasizes that this isn’t just a play for Thatcher detractors or admirers. ‘It’s about lives that collide, people trying to understand each other, and bridging divides,’ he explains. ‘It’s also about what happens when people feel they have no voice—and how dangerous that can be.’ But does art have the right to explore such dark corners of history, or does it cross a line?
Mantel herself faced backlash when the story was published, with some Tory MPs calling for her to be investigated by the police. Her response? ‘We can’t run away from history. We have to face it head-on, because the repercussions of Mrs Thatcher’s reign have fed the nation.’* A bold statement, but is it enough to justify such a provocative narrative?*
The play arrives at a poignant moment, set against the backdrop of Liverpool’s industrial decline and the aftermath of the 1981 Toxteth riots, which led Thatcher to appoint Michael Heseltine as ‘Minister for Merseyside.’ The sniper in the story speaks with a Liverpudlian accent, adding another layer of tension to the city’s complex relationship with Thatcher. Is this a story of revenge, or a reflection of a nation’s fractured identity?
Young praises the Everyman Theatre’s ability to balance intimacy and grandeur, mirroring the play’s dual focus on a small flat and the vast, global implications of its events. ‘You’re in a small space with just two people, but the ideas they’re discussing are enormous,’ he notes. ‘It’s about this flat, but it’s also about the world.’*
As part of Liverpool Everyman and Playhouse’s new season, the play shares the stage with Attachment by Julia Cranney, a drama developed with adoptive families from Merseyside. Casting for The Assassination of Margaret Thatcher has yet to be announced, but one thing is certain: this production will spark conversations—and controversies—long after the curtain falls. What do you think? Is this a necessary exploration of history, or a step too far? Let’s debate it in the comments.
