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.

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

Reasons to be MayDay - part 2

....The main event of the holiday period is the March and Rally today (3 May). From 11.00 people will gather in George Square and then march to the O2 Academy in Bridge Street. The March is being lead by young people and will rally in the O2. A range of speakers is headed by Seumas Milne, the Guardian correspondent. Also speaking will be Rosa Salih of the Glasgow Girls, a representative of the U.S. Fast Food Forward campaign for TU rights. Entertaining the masses while they wander round the stalls, will be Glasgow's own The Wakes.

A variety of political groupings will have their own events following the rally, but the evening delivers the second performance of From the Calton to Catalonia. Martin McCardie's successful and packed revival in the Calton last night is followed by this performance in Glasgow's Oran Mor. Maureen Carr leads an ensemble cast in Willy and John Maley's story of their dad's experiences in the International Brigade. Tickets £12, from the bar in Oran Mor, or via TicketWeb (including a booking fee).

Arthur Johnstone

On the Monday holiday, the now well-known Great MayDay Cabaret fills the venue at Oran Mor. Tommy Sands, the Irish singer and activist leads a star-studded cast that includes performance poet, Elvis McGonagall, actress Juliet Cadzow comedians Bruce Morton and Susie McCabe, and singer Siobhan Miller. They are joined by regulars Arthur Johnstone, Fraser Speirs and Stephen Wright, in what promises to be a cracking night. Again tickets available over the bar and via the online supplier This time at £14.

Then there is a gap during the week (is something happening next week?) although you can get another chance to see From the Calton to Catalonia if you're prepared to travel to Bo'ness on the 8 May (Barony Theatre), or Greenock on the 10 (Beacon Arts Centre). If you're staying in Glasgow next week, another great way to wind up the MayDay celebrations would be to see the Love Music, Hate Racism screening of Clash:Westway to the World on May 10 in the CCA (at 8.00pm). Free but ticketed from the CCA website.

All in all, Glasgow’s significant contribution to the International Workers' Day's festivities!

Looking Forward (and Remembering) - A tribute to Tony

Tony Benn (photo courtesy Sunday Mail)

300 plus people squashed into Glasgow's Mitchell Theatre on Sunday to celebrate a legend. As compère Susan Morrison pointed out, the word was in danger of overuse, as artists like Fraser Speirs, James Grant and Arthur Johnstone followed one another onto the stage. But in reality one legend dominated. Tony Benn himself, was the life being celebrated - to him went the accolade

Despite the last minute absence of Roy Bailey, taken ill on his way to the concert, the bill in the two concerts was crammed with talent. The first (spoken word) concert featured the acid sharpness of Tom Leonard, the pointed humour of Elvis McGonagall and the up-front politics of Attila the Stockbroker. Held together by the stories of Bruce Morton, it was a revelation to those who possibly hadn't experienced performance poetry before.

The main bill, however, was reserved for the evening concert. Curated by singer-songwriter,

Rab Noakes (photo by Alan MacMillan)

Rab Noakes and introduced by Scottish Labour leadership candidate, Neil Findlay MSP (who had the initial idea) a positive galaxy of musicians from Scotland, augmented by guests from South of the border served up a great evening. Ably compèred by Susan Morrison, the first half was introduced by Rab and Fraser's version of Sixteen Tons. Arthur Johnstone and Stephen Wright replaced Rab to give us some Woody Guthrie (Playboys and Playgirls) and Adrian Mitchell's Victor Jara. Appropriately, that introduced some more poetry from Elvis McGonagall, whose sharp analysis and humour made the politics more pointed - and converted not a few to performance poetry!  

Emily Benn

While all the show took place under the watchful eye of Tony Benn from the big screen, his granddaughter, Emily, who read from Letters to my Grandchildren, made further family input. She thanked the organisers, and called on everyone to continue the fight for democracy, equality and peace that Tony Benn had given his life to. Rab Noakes' main set - Incorporating the ever-coruscating Spin closed the first half.

The second half rang the changes with the Qyeen of NRNXPO - probably the first time many of the audience have been exposed to rap! Attila the Stockbroker put some political meat on the bones before the double act of Alastair McDonald and Sheena Wellington brought us back to some traditional material - No, Trident No (Alastair), Mrs Barbour's Army (Sheena) and of course the song closely associated with her - A Man's a Man for a' that.

James Grant

James Grant's set moved us into the current day with dark songs of loss - My Father's Coat in particular. And the finale gave us a different take on The Red Flag. By reverting to its initial tune (The White Cockade) Rab and the ensemble breathed a new, much more jaunty, life into the song.

With the now traditional Jarama Valley/Bandiera Rosa winding up the night, the whole day was one of tradition, mixed with development. Encouraging new experiences, while celebrating old successes. Surely entirely appropriate for an evening for Tony Benn?