Sharp in word and politics

The Morning Star has published some more of my Festival reviews. Again, and for obvious reasons, they have amalgamated a number of reviews into one piece here. Here is one of the original reviews - of Elvis McGonagall's excellent new show.

Are you being Served?

Elvis McGonagall - Countrybile, the Stand in the Square. 1.40pm every day. until 30 Aug. 5/5

Performance poet, Elvis McGonagall launched his new show at the fringe. In a Yurt. In the St Andrew's Square Gardens. And he's dealing with the trials (and benefits) of living in the country. Be not afeared though, those of you who revel in his pointed political poetry, there's still plenty of that, particularly now " the Lib Dem stabilisers are off the Tory tricycle of doom!"

But the new show deals in more 'lifestyle' topics than pure politics, although that doesn't mean that targets aren't skewered. Kirstie Allsopp's self-help programmes, Mammals (or middle aged men in Lycra) and in particular the heartfelt lament of pub barstaff (Are you being served?) point to the truth of so-called rural idylls, and can make you lose your mascara laughing. Not that all is nasty in the woodshed. An lovely lyrical piece - Purbeck - the enduring isle - celebrates the beauty and persistence of landscape.

But politics will out, and Greece is the word and No more Mr Nice Guy - a hymn to Aspiration, plant us back in modern times. McGonagall's genius is his ability to hone his language into a a rapier-like instrument - and then to plant it firmly between the ribs that deserve it. "bend it like Blatter'" indeed!

Some more familiar material is woven into the show, from the litany of Scottish icons in The Scottish Lion's Rampant to the gangsta rap version of the Queens Speech - "Bessie in the big house" is indeed "comin' atcha"- and in the process displays McGonagall's gift for impression. We're left with the hint of hope. "Have the courage to be kind."

A top lunchtime treat. What's not to like? Go.

Edinburgh Festivals 3. Sin, Dystopia and Scotland

...and this is the two of the other reviews from Saturday's Morning Star article (see previous blog). (The other one was in my first Edinburgh blog.)

Paul Bright's Confessions of a Justified Sinner. Edinburgh International Festival, Queen's Hall. 19-22 Aug 8.00pm 4/5

James Hogg's Confessions of a Justified Sinner is deservedly a cult novel. Written at the beginning of the nineteenth century, and set at the beginning of the previous century, it deals with the history of a character (Robert Wringhim) who is convinced by a doppelgänger (Gil-Martin) that he is a member of the elect, chosen by God for heaven and therefore unable to sin whatever he does. And what he does is murder.

However the fascination of the book is in what we don't know. Who is Gil-Martin? The devil? An evil twin? Or maybe a part of Wringhim's own mind - and an early exposition of the duality inherent in Scottish fiction from Stevenson to Gray. The novel operates on different levels.

George Anton in Confessions... (photo Tommy Ga-Ken Wan)

This is where the drama takes place, Untitled Projects go on to place further layers of artifice on top of that. It is a recreation of a (failed) attempt to stage a version of the book, and the toll it takes on its participants, one of whom, actor George Anton tells the story.

Constructed from a hugely impressive collection of artefacts - books, notebooks, posters, flyers, filmclips, and even the cassette from an answering machine - the drama unfolds leading to the inevitable death of the key participant - Paul Bright - who ends up inhabiting the part of the doomed Wringhim. The history of a young unsung radical Scottish theatre director is finally being told.

The level of detail that has been created in staging this 'history' is astounding. We enter through an exhibition of the artefacts. But we are gradually aware that something isn't quite right. The artefacts are manufactured, the films are of actors playing actors, Paul Bright never, in fact, existed. And we ask what we are really watching? Just as the book itself leaves us with the key layers and divisions unexplained, so the drama builds even more layers on top of that. Is Bright a reincarnation of Wringhim? What is the relationship between Anton and Bright? Is it all, in Anton's phrase 'lying and getting away with it'?

This is an important treatment of an vital novel - especially important at a time when the image Scotland has of itself is at a crossroads, and has the same fracture referred to by Hogg. It is also exceptionally well staged and created. It is a slight disappointment then, that the layers that are piled onto an already complex story, are a little self-referential. It is about more than drama and the arts.

How would you like your dystopia?
Dark Matter, Venue 13, 17.15, Until 29 August. 3/5
The trouble with dystopias that reflect where we are with any level of accuracy, is that it is

As civilization burns...

difficult to make them funny. Just referring to them as a ‘dark comedy’ doesn’t make it so. Such is the problem with Dark Matter, the first show by Dark Matters Productions. This is a apocalyptic and moral (possibly even religious) take on the financial and political crisis.

A congressman and a banker meet again as violence overwhelms Western civilization.  The financial meltdown has arrived, Congress is burning and the mob is stringing up those they consider responsible. These two have previous. Up to their pretty ears in involvement, and personal relationship, they’ve been brought back together by ‘the boss’, Nick (Old Nick?). There is drama, as the two fight about responsibility and personal guilt, but they are clearly locked together, at the end of the ‘world’. 

All seems dark as they leave the stage – but then a shiny chat show (or televangelist?) reveals the two ‘reborn’ as new age global leaders and happy marrieds. That the new order is based on the exposure/execution of the ‘boss’ and the ‘cleansing’ of most of the population gives the dark, satirical twist – think Chris Morris meets Charlie Brooker. The trouble is, we are shown the problem and the danger but given no inkling of a solution.
The writing is sharp. The acting good. The comedy bitter – but not that funny.  Best ironic moment is the valedictory music, as Barry McGuire (now a born-again Christian) sings his apocalyptic ‘Eve of Destruction’ as we file out!

Beware the spellchecker!... the real names of those Acts! - Edinburgh 2, Steel, Science and Beefheart

This weekend's Morning Star has published three of my Edinburgh festival reviews edited into one article. It is here. It is a masterpiece of compilation and compaction, and I have the utmost respect for those who can do this important job. However, when you are doing this, it is tempting to rely on the spellchecker to ensure accuracy. When you deal with people's names however, that sometimes goes wrong! As it has here! (How many can you spot?*)

The names of some less well known acts and actors have fallen foul of this gremlin, and for accuracy's sake, I'll reprint the original reviews with the real names, below! (My favourite typos are that great band - The Kings of Wheeze and the wonderful new talent - Erin Discarder!!). 

Oh, and if you haven't got your tickets for Elvis McGonagall, at the Stand in the Square - why not? 1.40pm every day until the 30 August. Tickets here.

Who do I think I am? - Mark Steel 5/5 - Assembly George Square, 20.15.  Until Aug 30.

Mark Steel - Who does he think he is?

So. The question on everyone's lips as Mark Steel took the stage in his first return to the Edinburgh Fringe in 20 years was... Would he be able to restrain from mentioning his newly acquired fame at being publicly rejected as a Labour supporter, even if his show was supposed to be about his own birth background (he was adopted from birth).

No great surprises to find out that he couldn't! But he didn't allow it to interrupt the flow of what was an intriguing birth story, yet ultimately one that had less influence on him than his upbringing in Swanley, Kent. For, what emerged from a fascinating story, was that Mark Steel - far from being the offspring of a North London lass, and a French man is in fact, half Scottish, and half Egyptian Jewish!

That, however, is (less than) half the story! For the scourge of British capitalism, whose socialism was fed by the unacceptable face of capitalism exemplified by the corruption of 'Tiny' Rowlands, Sir James Goldsmith and their ilk, has discovered that his birth father is a Wall Street trader and backgammon champion, who played with them in London's swanky Claremont Club!

Almost needless to say, it hasn't lessened the ascerbic tongue that Steel employs to flay those who  suggest that the financial crisis is caused by the poor having too much money, or that allowing gay marriage somehow devalues 'straight' marriage!

But the story both demonstrates how our background is the main driver in the formation of our character, but also allows a softer side of Mark Steel to emerge, especially in the clear love for his adoptive parents, but also in the understanding of his birth mother, and in particular, her family - even if they are revealed as Socialist Party supporters (the SWP's own particular 'People's Front of Judea' moment)!

What is also intriguing in a more general sense is the move of many of the more experienced 'political stand-ups' into more personal, narrative-based material. Mark Thomas also is experiencing that journey with both his Bravo Figaro, and his Cuckooed shows.
Once again - the personal, is the political. Especially in the person of Steel's birth father who, Steel wagers, wouldn't have been rejected from supporting the Labour Party! Get a ticket if you can.

Different for girls?

The Periodic Fable - a 'Panto Science' production,  Assembly Rooms 12.15. until 30 Aug. 4/5.
A Children's Panto Show? On Science teaching? In the Morning Star?

Unusual, perhaps. But if you consider the challenges that this show throws out it makes perfect sense. Designed to reclaim science for everyone and away from the clutches of the geeks, it shares a lot of space (and some of the jokes!) with E4's The Big Bang Theory - and that is no criticism! It also challenges gender stereotyping in the work we do - a key Star principle!

Indeed one of the key premises outlined by writer Bruce Morton and collaborator, Zara Gladman is that science is for women as well as men, girls as well as boys - and the response to the show from the  children present showed that it seemed to be working!

The performers, Erin McCardie and Karen Fraser establish an almost instant rapport with the young audience and the 'evil' Bruce Morton creates the panto vibe. Like good panto, there's also something in it for the adults. Topical references like the 'girls in the lab' gaffe of biochemist, Sir Tim Hunt and puns (Van der Giraffe Generator anyone?) are sprinkled among the songs, physical activity and experiments.

The show is witty, and succeeds in bridging an awkward gap. Its short length and small cast should mean that it is easily transferable to other venues after its run here.  

Beefheart and Cheeze 2, Henry's Cellar Bar, 14.08.15 7.00pm 4/5
In these days of tribute bands and rehashing of classic albums, how do you pay tribute to an

artist such as Captain Beefheart. So original that he hardly ever played his own material the same way twice! That's the problem facing Orange Claw Hammer (the name is taken from a track from the classic Trout Mask Replica album), a four piece formed by saxophonist and composer, Steve Kettley, to celebrate the Captain.

They do it by using Beefheart's music as a starting off point. Authentic tracks like Click Clack, and Veterans Day Poppy, are the inspiration rather than a copycat subject. And the tracks used are those that are primarily instrumental. Few attempts are made to replicate Van Vliet's gravel voice and exotic lyrics (although it sounds like Kettley could have a good crack at it, from the short examples here)!

That it works is a tribute to both Kettley's sax playing, and Stuart Allardyce's guitar. And the love of the blues-based, free-form style that is the real connection between Orange Claw Hammer and Beefheart's Magic Band. It isn't Beefheart. The lack of vocals alone ensures that. But in its instrumental homage, perhaps it is a truer tribute.

The Kings of Cheeze, support band for the night, fitted into the evening well. Their folk-rock, jazz-influenced style gave us the perfect starter for the main menu. Guitarist, Dave Gray and the unique tones of vocalist Trish Murry lead a fine band. If you like your music more on the arhythmic track, both these bands will appeal.

*There are six separate typos (plus one is repeated three times.)

Edinburgh Festivals - 1 - Countrybile, Communist Spies and Joan littlewood too!

Well, the extravaganza that is Edinburgh during the festivals is now in full swing, and trying to sort out the wheat from the chaff is (mostly) what I'm here to do.

I have posted (below) a couple of reviews compiled for the Morning Star (the first one appeared in yesterday's edition, here.). One performance works, one doesn't (quite) yet. I have also seen a number of other shows, and I would recommend Mark Steel's show Who do I think I am? (Assembly, George Square) about his investigations into his birth parents (he was adopted at birth). A review is pending, but suffice it to say, you'll hardly believe his findings!

Another great show (if you have kids of a pre-teen age) is FairPley's The Periodic Fable (Assembly Rooms) It is a panto-style romp through some child-friendly science, and seems to grab the interest and enjoyment of small boys, and (more importantly) girls.

Looking forward next week to Elvis McGonagall's arrival at the Stand on the Square, with his new show Countrybile. More later!


An Englishman Abroad meets Harry Lime

The Communist Threat.  ZOO Southside until Aug 31.  4/5
That this doesn't slide into the John Le Carre/Cold War cliche is down to two things. The quality of the acting by the two protagonists, Kip (David Holmes) and Albert (Kieran O’Rourke, who make up the company, Rusted Dust, and the sheer number of layers on which the plot idea works.

A play set in a post war Vienna basement, and involving spies almost automatically invokes the spirit

Class, as always, is key. Are all communist defectors upper class, cricket loving, Cambridge graduates?  Mr Nightingale's working class Northern rooted character says no (a first class performance by Kieran O'Rourke). Who is the interrogator, and who the interrogated? The layers keep swapping our view. In fact, they all appear to be communists, albeit for a variety of reasons.

The ending comes rather too soon, and provides us with the only unchallenged cliche - the loaded gun in the locked room. But overall the play provides us with an entertaining and impressive exercise in the personal and the political. No more separated here than in real life.
of The Third Man, and the suits, trilbies and accents do nothing to disabuse us. But gradually our perspective shifts. Yes, it's about betrayal, yes it's about politics, yes it's about sexuality but do all these things point in the one direction?

Joan Littlewood

A difficult show, about a difficult woman.

Joan, Babs and Shelagh too.  ZOO Southside until Aug 31. 3/5
Attempting to do justice to one of British political theatre's most important creators in a one-woman show of around 50 minutes was always going to be an enormous task. That it happens at all is thanks to the prodigious performance of gemskii - the one-woman!

What she tries to do is to tell the life of Joan Littlewood, founder of Theatre Workshop and Theatre Union along with Ewan McColl, producer of Oh, What a Lovely War! and mother of British political theatre. And she tries it in Joan's own, improvised, physical, musical style. It doesn't quite succeed, but it has good fun trying!

Minus points include the overuse of documentary comments that tend to intrude instead of enlighten, and the music which tends to overpower the actor's voice. The introduction of individuals who were important to Joan's life works well, and might be more used - Shelagh Delaney in particular, has a very short cameo.

However, this is a difficult piece to bring off - especially in the time allowed for a standard fringe performance - but the larger than life portrait of Joan that shines from the performance means it succeeds in its main aim. Time to continue the 'constantly changing form'?

Box Office for both performances - (0131) 662-6892 or here

Post-referendum, but not post-political!

Here is my piece in the Morning Star on the things I am looking forward to in this year's Edinburgh Festivals. This year the Star will have four of us providing reviews of various events, and my other colleagues (Gordon Parsons, Mike Quille, and Jody Porter) have also their highlights here. I've also added some events in the Book Festival and this and word limitations of the print media mean that the piece below is not a comprehensive survey. I've tried to add additional planned shows at the end (par 8 ff).

AFTER last year’s referendum-related material, this year’s festivals look much lighter politically on the surface. A closer look though reveals that there is plenty to tempt the radical political animal.
Last year’s successes used referendum fever to look deeper into “Scottishness” and this year’s most intriguing material ploughs the same furrow.

Confessions - what levels do we read it?

Paul Bright’s Confessions of a Justified Sinner is a complex treatment of James Hogg’s 18th-century novel, an early focus on Scotland’s “split personalities.” The novel ranges between family feud and psychological fable and this production by Untitled Projects and the National Theatre of Scotland adds a further layer by telling it as a “metafiction” in which the failed performance never took place — or did it?

This year’s fringe has some political topics, mainly in theatre productions which deal with themes as disparate as the miners’ strike (Undermined); the cold war (The Communist Threat); and Joan Littlewood (Joan, Babs and Shelagh Too).

Mark Steel

This year’s Assembly Rooms (AR) shows concentrate more on the spoken word, with well-known stand ups Jo Brand, Alexei Sayle and Mark Thomas discussing their work in the Talking Comedy series. Both Brand and Thomas also have their own shows elsewhere as does Mark Steel, who makes a welcome return to the fringe after 19 years away. I’m looking forward particularly to Countrybile, the new show from Elvis McGonagall.

Fair Pley’s innovative Cabaret of Dangerous Ideas, also returns to the Stand in the Square with some more controversial proposals from academics — ban students from Edinburgh, anyone? This The Periodic Fable, a scientific panto for young and old.

The Periodic Fable

year the producers also target the younger element with

After last year’s Israeli company controversy, this year features at least two Palestinian events. Playwright David Greig has crowdfunded 12 Palestinian artists to visit the festival and perform in an all-day programme. And at the AR Mark Thomas and Mark Steel, along with Daniel Kitson and Ivor Dembina, get together for a Free Gaza fundraiser to provide front-line medical support for people in Gaza.

At the Book festival too, Ghada Karmi (How Does it Feel When You Can’t Go Home?) and Avi Shlaim (Why Israel's Problems Remain Real) deal with aspects of the Palestinian tragedy. It is heartening that these two are already sold out. My other favourite Spurs fan, John Crace is speaking on his parliamentary sketchwriting in Coalition Confidential. Marcus O'Dair discusses his biography of music legend, Robert Wyatt in From Soft Machine to Shipbuilding. A series of talks on the future of libraries promises some interesting speculations and Elvis McGonagall reappears in the Comic Verse session.


Elsewhere on the Fringe one of the most unlikely tribute bands of all time line up to rekindle the Captain! Orange Claw Hammer present - Beefheart and Cheeze!

Programmes with booking links are; Fringe - https://www.edfringe.com/visit-the-fringe/programme
International - http://www.eif.co.uk/festival-2015#.Vb5fFkUwHIohttp://www.eif.co.uk/festival-2015#.Vb5fFkUwHIo and Book - https://www.edbookfest.co.uk/the-festival/events