David MacLennan – Plays, Politics and Popularity

--> This is a slightly longer and more personal version of the obituary I wrote for The Morning Star. That version can be accessed here.

David MacLennan (June 19, 1948 - June 13, 2014)

I was in Italy when the news came through via a friend on Twitter. David MacLennan, the theatre writer, director and producer, had lost his short battle with Motor Neurone Disease. The co-founder of 7:84 Theatre Company and Wildcat Productions, the man who had been part of the foundation of MayFest, and who created the Play, Pie and a Pint format, who was in a new ascendancy with the National Theatre of Scotland (NToS) commissioning him and David Greig to co-curate The Yes, No, Don't Know, Show, had left us and in particular, left a huge hole at the centre of Scottish Theatre, Political Theatre and Popular Theatre.

I first came across David when Nalgo, one of UNISON's predecessor unions made their first break through in joint working with political theatre. They reunited 7:84 Theatre company co-founders, John McGrath and David by commissioning their production, On the pigs back, in 1983. The show was a street theatre production of typical 7:84/Wildcat wit and political polemic that toured all across Scotland in a double decker bus that doubled as the backdrop! Getting the bus onto ferries to Stornoway and Lerwick was not the least of the problems!

This was part of Nalgo's first major campaign against cuts and sparked a raft of similar union-supported productions with both Wildcat and 7:84 dealing with the politics of the Thatcher years. including Bed Pan Alley sponsored by NUPE. It also included Nalgo's sponsorship of The Steamie which opened at a disused public wash house in Govan, one of my favourite venues! Ultimately, these initiatives also led to the establishment of MayFest in 1983, an arts festival based on trade union MayDay celebrations. Typically David (and his then wife Ferelith Lean) were in at the start of this too!

David's (and Wildcat's) uncompromising, if extremely humorous, politics – they produced plays on the Miners’ Strike, Ireland and Rock and Roll! - eventually led to a falling out with the then Scottish Arts Council, and funding was withdrawn. Despite a lengthy campaign, it was the end for Wildcat. MayFest too, shut after a different funder withdrew support (for different reasons).

After some years on individual projects and commissions, David launched another innovative and popular initiative. Entrepreneur Colin Beattie's new bar and venue, Oran Mor, was looking for artistic projects to fill its cavernous spaces! And A Play, a Pie and a Pint was born! This format, allowing people to leave work, have a drink and a bite to eat and see a short play - all in the space of a lunch hour - quickly established itself in a completely commercial environment. Spin-offs to both other venues, and other art forms (a Cocktail, a Canapé, and a Concerto, anyone?) showed its versatility, and ultimately the idea of short, popular plays in non standard venues was taken up by the NToS itself in its Five Minute Theatre initiatives.

Although now successful commercially, David's political commitment was maintained right till the end. He addressed one of the first Morning Star cultural events in Scotland, shortly after the success of A Play, A Pie & A Pint. He introduced himself as a 'convinced Marxist'! His final project - co-curating the Yes, No, Don't Know Show - involved a series of 5 minute plays all dealing with the current referendum on Scottish Independence, (David's 'No' view, being balanced by David Greig's 'Yes' one!)

Political, yes, but not didactic, David knew the need to entertain was part of the production. In John McGrath, his brother-in-law's phrase, the production had to offer an audience, 'A good night out', if it was to connect politically.

His vision, and the ability to sense a successful theatre idea, kept with him from The Cheviot, The Stag and the Black, Black Oil, 7:84 Scotland's magnificent opener (from a film of which there is a rare shot of a MacLennan appearance on stage!) through his other joint collaborations (with Dave Anderson) in Wildcat, right up to the hugely successful Play, Pie and Pint, series. This last has been copied all over the world. It would be a fitting tribute, were David's political ideas similarly distributed! The story, as yet, has no end.

David’s loss is keenly felt by the Scottish theatre community, the many colleagues who worked with him and the close friends he had, but the biggest loss will be to his wife, Juliet and their son Shane. My sympathy goes out to them both.

  

Who's Afraid of the Big Bar-L?

On Sunday an interesting new play has its public premiere at Oran Mor as part of Glasgow’s WestEnd Festival. Who’s Afraid of the Big Bar-L is a humorous look at the history of Glasgow’s most famous ‘Big Hoose’, written by well-known writer and director, Philip Differ, and commissioned by retiring Barlinnie Governor, Derek McGill

He has seized the opportunity created by a major turning point in the big prison’s history to commission the play to mark the prominent place Barlinnie has played in the folklore of Glasgow and Scotland over the last 100 plus years!

Barlinnie's Derek McGill

While this may seem unusual, it is entirely appropriate now for two reasons according to Derek, who has been a long-term promoter of arts, music and drama as alternative therapies and interventions to help prisoners desist from crime and change their ways..

“I have spent my time in the prison system investing in creative methods to help prisoners address their offending.” He said, “There is a lot of evidence especially from Norway, Sweden and the Netherlands, that this approach can reduce re-offending.”

In addition, the future of Barlinnie is currently under discussion. Reports have highlighted that the prison, built in 1882, is no longer fit for purpose. It would need significant expenditure to meet modern demands on prison life. The two options being discussed are major refurbishment, or closure and building a new prison on a different site.

“There is much debate over Barlinnie’s future.“ Derek said,  “Closure or major refurbishment are both possible outcomes, so I thought that now was a good time to look at the Bar-L and its place in Glasgow’s popular culture.”

Not content with just commissioning a play, he asked leading Glasgow-based arts production company, FairPley, to produce the play and they got well-known Scottish comedy writer and producer, Philip Differ - famous for Naked Video and Watson’s Wind-up - to write and direct it!

You can hear both Derek and Philip discuss the play and Sunday’s performance on BBC Radio Scotland’s Good Morning Scotland - here. The interview is 2hr and 36 mins in (at the end).

Philip said “My main concern - and the cast's too - was that the play would be authentic, that the

Philip Differ

prisoners would connect with it. After every performance we held a Q and A session with the audience and every time we were asked if any of us had 'done time'. The prisoners seemed genuinely surprised none of us had because the play was, as they put it, 'bang on'. That told us we'd hit the mark and was as rewarding for all of us as the laughs throughout the performances”.

The play is set in the future – in the London offices of Gin ‘n Tonic productions – where a former inmate of the now defunct Barlinnie, and a former prison officer, meet to discuss its history. Is G‘nT the best choice to produce the history of the Bar-L? As you might expect with a writer of Philip Differ’s pedigree, the play crackles with humour.

After a successful tour of its 'captive audience' in four of Scotland's toughest jails, it is now showing to the general public in a one-off performance in Glasgow's Oran Mor on Sunday June 1 at 7.30pm. Tickets over the bar or via this link.

Diesen Kuß der ganzen Welt*!

On Friday, as Nigel Farage came to Edinburgh to boost his party’s candidature for a Scottish Euro seat, and to tell us how we’d be better off outwith the European Union, in Glasgow a very different approach to things European was being promulgated by the Scottish Chamber Orchestra, and its Chorus.

In an inspired piece of programming, the SCO’s season finale was Beethoven's 9 Symphony (the Choral). Its theme of universal brotherhood, joy and fellowship sent out a much more positive message than the isolationism preached by Farage and many other narrow separatists. (*The title of this piece is part of Schiller's Ode to Joy, the poem that provides the lyrics for the Symphony. It translates as 'This kiss to the whole world'.)

Emmanuel Krivine

The internationalism was further enhanced by the announcement prior to the performance that French conductor Emmanuel Krivine has been appointed the SCO’s Principal Guest Conductor. He celebrated by leading the Orchestra and Chorus through a lively and animated performance – both his feet leaving the podium on at least one occasion!

The fact that two weeks prior to the Euro election the SCO chose the European anthem to play was not lost on people in Glasgow – the fact that it was delivered by a French Conductor, and Scottish orchestra and German soloists was also a positive note!

The large audience gave a massively enthusiastic reception to what was an excellent interpretation of a classic piece. I know which city I preferred to be in last Friday!

MayDay celebrations start with a cracker

2014’s MayDay celebrations have started with two excellent events and a considerable increase in the interest levels.

1915 Rent strikes in Glasgow

Last Saturday, the new Friends of MayDay (GFoMD) organised ‘Walk through the War’ had its first outing and a small but interested band took a couple of hours to visit a number of Glasgow sites associated with events linked to different campaigns connected to the First World War.

Starting at the site of the notorious Duke Street Jail – used to imprison suffragettes, anti-war campaigners and strikers – the walk wound its way via George Square, the Clyde and Bath Street to the old St Andrew’s Hall building. The rain kept off and the history of those radicals still fighting while war raged was laid out through the city!

Good news for fans of these walks is that a joint application to Glasgow’s Doors Open Day organisers on behalf of GFoMD and the Scottish Labour History Society has been successful, and both the ‘walk through the War, and a variant on last year’s East End Walk (from Bridgeton to George Square) will feature in this year’s (September) programme.

From First War to Spanish War

Then on Thursday, a different war featured, as Calton Books launched their reprint of John and Willy Maley’s play From Calton to Catalonia based on their father’s experiences as an International Brigader in the Spanish Civil War. It’s available from Calton Books – their FB site is here. 

Willie Maley was present to introduce the book and expand on the fascinating character that his father must have been. Particularly good for an ex-colleague of mine – Dougie Hay – to get a mention! And proving that Glasgow is the biggest village in the world, the MayFest connection came full circle – the first outing of the play was part of that lamented festival!

Some great music, from Chris and Paul of The Wakes wound up a cracker of an evening!

March and rally to the Cabaret

A great start to this year’s mayday celebrations! On to the MayDay rallies on Saturday across Scotland, and in Glasgow on Sunday! And remember to get your tickets for the Great MayDay Cabaret at Oran Mor on Monday night. Tickets across the bar in OM, on line from their website,  or from the GFoMD stall at the O2 Academy Rally on Sunday.

May Day Celebrations take shape!

In this weekend's Morning Star there is a preview of some of the next two weeks activities, which you can link to here. The programme is shaping up to be one of the most interesting for some years, although I am probably too close to the original Mayfest to accept the Star's adoption of it for the preview's title!

Obviously one of the highlights is The Great MayDay Cabaret - the second Glasgow version of which is scheduled for Monday May 5 in Glasgow's Oran Mor (tickets still available over the bar for £13 and (+ a booking fee) on line at www.oran.mor. 

There are also healthy looking new shoots at Dumfries (Friday May 2)-tickets (£6/5) from Ian @ 01556 650459 and at Blantyre (Saturday May 3)-tickets (£5) from South Lanarks. TUC on 01698 454690.

Rab Noakes

Eleanor Morton

Starring in Glasgow is last year's headliner, Mark Thomas, and well-known singer-songwriter, Rab Noakes will be appearing at all three events, as will last year's hit, Marxist magician Ian Saville. Comedians Bruce, and Eleanor Morton (no relation, and catch her before she becomes famous!), moothie maestro Fraser Speirs, and political song guru, Arthur Johnstone round off the final (Glasgow) show.


Of course the MayDay marches and rallies are scheduled across Scotland, with the biggest in Glasgow on the 4 May. The main speaker will be author and commentator, Owen Jones. The march assembles in George Square at 11.30 with a collection for food banks in Glasgow. It rallies in the O2 Academy.

Elsewhere there is a book launch for a new print of From the Calton to Catalonia, a fundraising comedy afternoon for Scottish Left Review, a social for Cuba and an appreciation of UCS cartoonist and author, Bob Starret. The full programme can be found on the Glasgow Friends of MayDay website, here. Hope to see you at Oran Mor on the 5!

Hoping for a Cultural Feast in a year of challenges

Rows over Creative Scotland and accusations of political bias aren’t the whole story, says CHRIS BARTTER

This is my Voices of Scotland feature for Tuesday's Morning Star.

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AS WE begin to hit the busiest time of the cultural year in Scotland, it’s worthwhile to take a look around the scene in this year of referendum, war anniversary and Commonwealth Games.

After huge political furore over funding and direction at Creative Scotland resulted in a change of director, has that resulted in a change of direction?

A similar change at the top of the National Theatre of Scotland (NToS) seems at least in part to have been prompted by criticisms of the ethnic origins of the founding artistic director.

And how have the nascent cultural initiatives begun by the Scottish trade union and labour movement at May Day and elsewhere been holding up?

The — still relatively new — attempts by the STUC and local trade union councils to build up the celebration side of May Day seems to be increasing in its reach and support.

The programme produced by Glasgow Friends of May Day, the body set up to channel those

initiatives, shows an increase in its coverage, running cabarets in Dumfries and Blantyre with singer-songwriter Rab Noakes as well as a repeat of last year’s successful Oran Mor production, where Mark Thomas headlines a superb line-up.

While this carefully avoids being seen as a replacement for the much-lamented MayFest, started by former STUC arts officer Alex Clark, there is no doubt that the base threads of trade union and local community involvement in the programme have similarities to the aims of that festival.

There are no overt references to this year’s independence referendum in the May Day celebrations — possibly marking the decision of many unions and the STUC to concentrate on using the debate to argue for the kind of Scotland they want rather then engage in the constitutional bitterness.

But we might well expect some references in the Scottish Left Review’s comedy fundraiser. It stars one of the Yes campaign’s leading cheerleaders in Elaine C Smith.

Similarly, last year’s furore over Sir Jonathan Mills’s claimed exclusion of referendum material from August’s Edinburgh International Festival seems now to have been a tad misplaced.

Laurie Sansom. NToS

A major production of Scottish playwright Rona Munro’s James work, directed by new NToS artistic director Laurie Sansom, will put Scottish identity and the governance of the nation front and centre-stage.

Both Edinburgh’s Book Festival and a major fringe venue, the Assembly Rooms, have promised more referendum material this year, although whether this proves overkill remains to be seen. Certainly, the Yes campaign has largely captured Scotland’s artists, with only a small handful declaring for No.

Sansom himself has been easing himself into the hot seat at NToS. As the second English artistic director he has already been the subject of warning shots from bloggers on the pro-independence Bella Caledonia site.

However, he has managed to commission pro- and anti- theatre practitioners David Greig and Dave

Dave MacLennan

MacLennan to curate The Yes, No, Don’t Know 5 Minute Theatre Show, and promises a revival of Joe Corrie’s In Time of Strife, a seminal Scottish play last revived by 7:84 Theatre Company in 1982.

Creative Scotland’s new chief executive faced an even more difficult baptism. Janet Archer followed the much-harassed Andrew Dixon after funding withdrawal from a large number of companies prompted a furious response in 2012.

Like him — and Laurie Sansom — she too was from south of the border. While ethnic origin shouldn’t matter, in the current febrile atmosphere it does (thank you Alasdair Gray).

Janet Archer

Rightly divining that funding was at the root of the crisis, Archer spent some time “crowd-sourcing” views on a(nother) new funding structure. This was finally revealed recently,and seems to be a bit of a return to the past. The reintroduction of a regular three-year funding for companies will be welcomed, at least by those that get it.

A successful first step perhaps, yet there is still much to do to rebuild fences. For example, previous funding and artistic decisions led to a virtual demise of Scottish touring theatre — especially those companies with a social message.

We have had to rely on NToS commissions and the occasional project-funded tour by venue-based companies. Is it too much to hope that along with longer-term funding we could see a return to regular Scottish touring companies bringing theatre to the village halls and pubs of Scotland?

Ironically the companies least caught up in the furore over funding are those companies that used to form the nexus of the debate.

The removal of the five “national” Scottish companies — NToS, Scottish Opera, Scottish Ballet, the Royal Scottish National Orchestra and the Scottish Chamber Orchestra — from then Scottish Arts Council funding in 2007 to direct Scottish government funding seems to have given the lie to the truism that politicians shouldn’t get directly involved in the issuing of grants.

Cultural decisions are still a source of huge interest in Scotland. And where people get it wrong they are told so. Most recently the bizarre decision to use the demolition of people’s homes as a centrepiece of the Commonwealth Games opening ceremony was overturned following an outcry from local people and commentators.

The jury is still out on Creative Scotland’s future direction and whether a plethora of pro-independence shows would be a blessing or a curse.

Chris Bartter chairs Glasgow Friends of May Day. He blogs on political and cultural issues at www.captaingrumping.blogspot.co.uk.

(Don’t Talk of) Dust and Roses

While the temperature of the indyref debate is on the rise (unsurprisingly), and the bitterness of the accusations and attacks on and by politicians is probably understandable if regrettable, it still rankles to see otherwise temperate journalists accuse others of attitudes that are patently inaccurate, especially when those commented on are in no position to defend themselves.

In particular the piece by Herald Literary editor, Rosemary Goring in Saturday 8th’s Herald Arts supplement  - It’s good that writers speak up for Scotland - claims that ‘Few [writers] loathed Scotland more than George Orwell’! A puzzling claim about a writer who obviously loathed

Barnhill, Isle of Jura. Orwell's home for 3 years

Scotland so much he chose to live here! Whether he did so as a ‘settler’ or a ‘colonist’, I leave for others to judge.

Having looked a little further into the claim, mainly via Orwell’s Collected Essays, Journalism and Letters, I remain baffled by Ms Goring’s assertion. Certainly Orwell made no secret of his hatred of nationalism in general – hardly surprisingly for someone who went through the 30’s, the Spanish Civil War and the 2^nd World War – and indeed has nothing very complimentary to say about the Scottish or Irish nationalism of the time, mainly because of what he saw as a basis in national enmity, rather than economic discrimination.

Orwell - did he loath Scotland?

I think that Orwell’s political perspective is often flawed – mainly because he looks at things from primarily an individual rather than collective viewpoint – but there appears to be no evidence for such a sweeping condemnation of his views of Scotland. Indeed from an early age he rejected the ‘Upper-class playground’ attitude to Scotland he found at his school, (Such, such were the joys) and was on record in arguing for ‘full autonomy’ for Scotland, and for Gaelic education in an As I Please column of 1947.

It is of course, helpful to have the view from outside on any activity. Whether that is from Will Self or Tony Benn, David Bowie or Billy Bragg, Sean Connery or Eddie Izzard, they have their perspectives, and we can accept or reject them. What isn’t acceptable is to apportion prejudice to people with flimsy evidence.

Many of us hoped that the “radical blurring of national lines” would continue, rather than have a new line drawn. Maybe the “fear and loathing writers used to nurse about their neighbours.” does still exist – just in a different neighbourhood?