Radical Shifts on the Fringe - Fringe Blog no 2

The Morning Star website is currently being revamped and unavailable, so here is my article published in this weekend's edition. It is a summary of my thoughts on this year's Edinburgh Fringe shows.

If politics is show business for ugly people, then show business should be aware of political attempts to move into their territory more comprehensively!

Before this year's Edinburgh Fringe. some commentators (including this one) identified an increase in the number of political shows. Even with a surprisingly low level of shows dealing with Scotland's referendum, especially from Scottish writers.

After three weeks viewing, I can a) confirm that there was a large amount of both overtly political shows and shows with a political angle, and b) while the referendum was covered, especially in spoken word events, it did not form a major theme. Even in a wide-ranging seminar on political theatre it only got one mention in a uplifting discussion that identified political theatre as still very prominent.

Partly because, as respected commentator, Joyce MacMillan, points out, the constitutional debate has been part of the cultural background in Scotland for years, and many writers have moved on. They deal with wider overarching political and human issues - like David Greig in The Events, which deals with our reaction to atrocity. Inspired by (but not directly dealing with) the Anders Breivik murders, this will become a very important play.

Other productions dealt with political history - like Unite-sponsored, We will be Free, Townsend’s Tolpuddle Martyrs' play, or particular issues, like Northern Stage's How to Occupy an Oil Rig - an entertaining training session on direct action in climate change campaigning.

Many productions deal with non-political topics, but allow political issues to feature. An effective
example, is FairPley's production of God Bless Liz Lochhead! in which a struggling group of thesps attempt to re-create a 12 character play with 3 actors! While the convolutions this entails deliver a very funny play, it also makes a comment on the politics of cultural funding in Scotland.

Of course, there is more to the Fringe than drama. Comedy has always been a strongpoint, and this year the return of many 'Alternative Comedy' legends brought that political edge. Mark Thomas crammed a hugely busy schedule with shows on Extreme Rambling along the Israeli apartheid wall; debates on the efficacy of some of his previous Manifesto pledges; and his new 100 Acts of Minor Dissent project. He reached 26 by organising a stand-up demo outside the Russian Consulate against their anti-gay laws! Alexei Sayle, too, came from stand-up exile to prove he was as ascerbic as ever. After 17 years away, he can be forgiven some slight rustiness!

Vladimir McTavish and Keir McAllister's The State of Britain was one show that took the independence debate head-on, but did seem to be unsure of its audiences, possibly for a similar reason to Steve Richards. The political columnist said in the Guardian that he had had to tailor his act to Scottish or other UK audiences on a show-by-show basis.

A further reason for more politics this year is the massive increase in spoken word events. Once the province of the Book Festival, the Fringe started listing these separately a few years ago. This year has seen an explosion in such shows.

Driven by demand (The Book Festival resolutely refuses to move anywhere bigger), the need for promoters to fill venues during the day, and the relative ease of staging this type of show, debates, discussions, Q&As, demonstrations etc. sprang up all over. Most of all, there is an audience for these shows, which is good news for political debate. Almost all major venue complexes featured some spoken word, but the major venue, was the Assembly Rooms/Famous Spiegeltent. FairPley Productions contributed massively, by importing their Verb Garden from the Belladrum festival. The concept - backed by the Co-operative Membership, covered many topics and presented major politicians such as Tony Benn, and George Galloway MP, journalists like BBCs Brian Taylor and Iain Macwhirter, and academics and comedians. Even including the finalist of 2012 Great British Bakeoff, James Morton!

Stephen Wright of FairPley, thinks that spoken word can only increase. "While you need to
programme different topics carefully," he said. "the demand is there for politics. We will be building on that, both in Edinburgh and elsewhere."

God Bless Liz Lochhead!

Is the Personal, the Political? Fringe Blog no 1

Early in the Edinburgh Fringe, and already themes are becoming apparent. The gap between the personal and the wider population seems to be a significant theme, both directly and indirectly! It is an obvious factor when considering the political situation, and the increase in political topics at this years fringe has maybe contributed to the significance of this (see my piece on this in the Morning Star here ) but it hasn't only impacted on obvious political material.

Hindsight - a first play from Scottish comedian Keir McAllister has no obvious political message, although the broad topic of individual decisions and their impact on others - especially when a male ego is involved - has considerable resonance in many gender politics debates!

How much do we make decisions affecting other people in our own interests, and how often do we take theirs into account? And if we only look at it from our perspective, can we ever supersede our own ego?

McAllister gets that across in what is essentially a one person play - albeit with three actors. And he does it with humour and humanity. Obviously having a director of the calibre of Phillip Differ, and actors like Raymond Mearns, James Kirk and Paul Sneddon, all regulars on the standup circuit, gives the play a fighting chance. You should give it more than that. It is worth it and a good first start. It's at the Assembly Rooms until Aug 24,  1.15pm

One of the plays successes is that it recognises that we may not be aware when we take decisions for our own personal advancement, and not for the greater good. Matt Forde isn't so self aware. His show The Political Party, addresses his enthusiasm. An admitted Blairite, Forde's view is that politics needs more 'characters', and he proceeds to identify (and impersonate some).

This should be more fun than it is. An unrepentant political enthusiast (he was out canvassing at 13!) Forde tries to convince us that the whole thing is such fun, that people whose views are frankly objectionable are great personalities and have charisma. I'm not sure, however, that Nigel Farage as a drinking buddy convinced many people (I'm glad to say).

But it isn't in this that the problems arise for this performance. Even an hour in the company of political personalities leaves one wanting more on the issues. He does the voices well, but Forde is an impressionist, whereas Ian Grieve (who plays Gordon Brown in The Confession of Gordon Brown) inhabits his part. It is also an example of how limited the politics of personality are. Not terrible, but it begins to pall. Matt Forde is in the Pleasance Dome until the 25 August, 4.00pm.

I wont be back in Edinburgh until later in August. Hopefully more culture and politics will be winging it by then!