Theatre
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Etate ofpla
‘THERE'S BEEN A REAWAKENING ABOUT THE IMPORTANCE OF POLITICS'
Steve Cramer talks to one of the UK’s foremost political dramatists, David Edgar, about ideology, identity and nationhood
I might tell us something about the current preoccupations of the theatre in Scotland that. following a long period in which his plays were seldom performed here. rcyiyals of David Edgar's Dr ./('/\'_\'II and Mr Hyde and .«N’it'lm/us‘ Nickle/w have both
toured north of the border over the last couple of
years. One of the LTK's pre-eminent political playwrights. Edgar‘s work of the 7(ls and 80s such as Destiny; and .lluyduys scrutinised the right and left respectively. His back catalogue is notable for its
passionately eloquent and often witty dissections of the State of the Nation from a left-wing point of
\‘lL‘W.
The premiere of Edgar’s new play. 'Il's'n'ng the lit/m. with Max Strafford (‘lark's Out of Joint theatre. here directed by Matthew Dunster. is the playwright‘s first major work since his much acclaimed 2005 attack on Blairism. Playing with Fire. The new work deyelops Edgar's forensic examination of the British state to the idea of Britishness itself. Here. we meet Emma. an English teacher in a ‘citi/enship’ class. whose ideas about nationhood — already an issue of dubious integrity to the character — are further tested by the expectations of her students.
‘There's undoubtedly a phenomenon in these kinds of institutions that the people teaching in them are often more critical of the information that they teach than many people in broader society. and more critical than their students.~ says Edgar. ‘lt‘s not about people learning English. it‘s about people teaching it. It's about us and how we define ourselves.’
Yet. such people might. he explains. be the exception rather than the rule. ‘I think some British people are closer in that airbrushed. kind of golden summer \‘lCW of England to the l95(ls than they are to the present day.~
84 THE LIST 51 can-‘4 Feb 2005
Edgar engaged with some major research in producing the piece. speaking with many people who were students of these schools. So. there‘s an element of fact-based drama in his aesthetic. ‘I wanted to write a play that combined documentary elements with fictional stories. Using such things as the verbatim theatre w'e‘ye seen over the last few years with a kind of mockumentary approach. It uses that language. in the way that The (ll/ire does. which is a new departure for me.‘
Changing times have. for Edgar. brought different approaches to politics. Asked about the young ()(ls
generation of writers. who were often accused of
being apolitical in their approach to the culture. his thinking shows a remarkable historical sensitiyity. ‘I think some of that Brat pack of writers. people like Rayenhill and Kane are political writers. In a way. Mark Rayenhill‘s great subject is a kind of eulogy for the past. and past political purpose. I think what happened in the Xlls was that politics gayc many. many things away because Mrs Thatcher was such a strong figure. At the beginning of that decade many things — phones. gas. utilities — were in goyernment hands. so by the time these writers came to prominence there was much less emphasis on the power of politics.'
He adds: ‘I think since 2()()| there‘s been a reawakening about the importance of politics. Certainly since then there's been less emphasis on economic determinism. and more on bigger issues.~ Issues don‘t come much bigger than how nations define themselyes. whether here or in England. so this might just be one of the most important plays of the year.
Traverse Theatre, Edinburgh, Wed 5-Sat 9 Feb
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alt Mastodon: Andy Arnold’s deft and intense production of Brian Friel's tale of the incursion of a group of British soldiers upon a rural Irish community shortly before the potato famine is a hot ticket. Strong performances from the cast and an exemplary set add to a tale of love and injustice. See page 88. Citizens' Theatre, Glasgow, until Sat 2 Feb
1|! Testing the Echo David Edgar's new play looks set to open a big conversation about British identity. See left. Traverse Theatre, Edinburgh, Wed 6-Sat 9 Feb
* Walden Magnetic North's version of Henry David Theroux’s story of self denial and elemental survival in a wilderness. directed by Nick Bone. looks like a site specific treat. Performed in Edinburgh’s Stills gallery the piece asks questions relevant to contemporary environmentalism. See page 88. Stills Gallery, Edinburgh. Thu 31 Jan—Sun 3 Feb
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1 943 Alan Plater's theatre version of his television play sees a group of female musicians on the road in wartime Britain, fending off the advances of American soldiers while building toward a big BBC broadcast. A feel good comedy with some genuine brain food thrown in. See page 87. King's Theatre, Edinburgh, Tue 5—Sat 9 Feb
# Equus Peter Schaffer’s 703 piece about a psychiatrist investigating an adolescent boy’s act of cruelty to six horses still has the power to shock. Leads Simon Callow and Alfie Allen add to the interest. See page 86. Theatre Royal, Glasgow, Tue 12-Sat 16 Feb. then touring.