MKA's "The Economist" is a political piece of theater that portrays the lead-up to the horrific massacre of over 65 youths in Norway, 2011. Directed by Van Badham and written by Tobias Manderson-Galvin, the play focuses on the life of Andrew Berwick, a pseudonym of Anders Breivik, and the pivotal moments of his life, forging a pathway that abruptly ends with the murder of over 65 people. The Economist consists of a number of short scenes during which appear a range of characters who have major relevance or impact on Berwick's mental situation. Marcus McKenzie, an actor in the play, portrays a number of these characters. Analysis will justify how he mastered the three acting skills of voice manipulation, body manipulation and multiple role-playing, which resulted in greatly enhanced dramatic meaning. In this way, the overall evaluation will dictate that MKA's own aim of "daring each other to make the most exciting and urgent theater" possible was attained by "The Economist".
             McKenzie effectively used his voice as a tool to convey strong and concise dramatic meaning to the audience. His portrayal of dynamically varying characters required clever vocal manipulation which was successfully executed. A fine example of this was his portrayal of an aerobics instructor. As the instructor, he generally spoke with a quick tempo, loud volume and clear articulation, thus illustrating a confident and bullish man. However, as the conversation moved into illegal matters, namely steroids, he lowered his voice and slowed his pace. Immediately, the audience realised that what he was saying was of a more sinister nature. Unmistakably, his dynamic use of pace, volume and articulation allowed the scene's dramatic meaning of the damaging effects of illegal drugs on mental health to be clearly present. A further example of manipulation of voice was heard in the plastic surgery scene. As the procedure is undertaken, the surgical t...