19th July 2016
Your three-pronged spear
Of Christ lifespan minus two.
In last-resort letter,
Game of one:
Set off eight Hiroshimas;
Multiply a conflagration
Built in Aldermaston
Born in a bloody union jack
Leased out to Lockheed
Corporation of Sunnyvale, CA.
Narcissistic suited juveniles buy seat at
472 of 'em, top adults.
117 are for the bottom table.
Relegation awaits Cleggster and Jezza!
And canny Mhairi, the best and youngest.
It's Britannia's attribute:
She needs sixteen.
She needs sixteen!
To threaten incineration
At 7500 miles' reach;
Culture obliteration we're okay with (in theory)
And the Iron pose
From days of Joe and / or
In your studied clam, be able to
Gan proper radgie!
Or at least appear to.
And spend thirty-one billion pounds.
Postscript: 23rd January 2017
Sir Michael refused to give details,
Sir Michael, Knight Commander of the Order of the Bath.
Sir Michael refused to give details.
Sir Michael has 'absolute confidence' in the system.
So, that's all right, then.
Friday, 27 January 2017
Tuesday, 5 July 2016
In a speech on 19 April, which was hailed by most of the Brexiters as definitive, Michael Gove finally made it clear that Out means Out. Not tagging along like Norway or Switzerland, not seeking a new and complicated relationship like Canada, not a country member or a candidate member, but OUT. Gove, looking more than ever like a gleeful hamster on steroids, announced that Britain would leave the Single Market, would not seek to be part of EFTA (the organisation that includes Norway, Iceland, Switzerland and Liechtenstein), and would remain a member only of ‘the European Free Trade Zone that stretches from Iceland to the Russian border’. Alas, despite this grandiloquent description, the EFTZ exists largely in the imagination. The UK would be as Out as Bosnia, Serbia and Albania (the signal difference being that Bosnia, Serbia and Albania are all trying to get into the EU). We would be launched on a journey to become a Greater Albania. […] Albania has no EU passport for financial and other services and no access to EU deals with the outside world. 
Yet, before the Second World War, the phrase “Britain and Europe” was much less prevalent, and there are good historical reasons why. In messy historical reality, as distinct from much present-day polemic, “Britain” and “Europe” have rarely followed entirely distinctive paths, any more than they have ever – either of them – been monolithic structures. 
So, "we" voted for ‘prolonged turmoil and stagnation simply for the exhilaration of being on [our] own at last’. As Ferdinand Mount argued, this was not so much the Garbo ‘I want to be alone’ option as the ‘Third Division’ Millwall option: ‘No one likes us, we don’t care’. This piece seeks to understand why Britian left the EU and to critique the discourses used by both the Leave and Remain camps. As Neil Kurkarni has argued, the level of debate was leagues below 1975. This is a more considered approach than I took to the issue in my review (with Adam Whybray) here of The Legendary Pink Dots' dystopian The Tower (1984), written on 24th June. I seek to make a pro-European intervention, and synthesise some of Britain’s wiser counsel that didn't prevail.
To counter a first myth, this vote wasn’t necessarily about the old stitching up the young, so much as the media and political establishment (generally those born in the 1950s-70s) misleading everyone. Those of pensionable age have generally been the most eloquent: Ferdinand Mount (b.1939; 76) and Bernard Porter (b.1941; 75) in the LRB, Neal Ascherson (b.1932; 83) in the New York Times, Linda Colley (b.1949; 66) in the New Statesman, Anthony Barnett (b.1942; 73) in Open Democracy and John Major (b.1943; 73) on the BBC.
Why did I vote to ‘Remain’, against the 3.8%-margin “tide”? No great matter of consistency or principle, due to the EU's treatment of Greece, for example. However, philosophically and geo-politically: being on your tod and being an increasingly angry little England is not a good idea. Global issues such as climate change and terrorism cannot be dealt with locally. And it would be England, as “Brexit”, rather than being a naff breakfast cereal, risks the future of the UK as well as endangering the legacy of 1998’s Good Friday Agreement. In addition, Farage and Johnson were a disgrace: their campaigning pandered to the lowest human impulses. Paul Mason spoke pointedly about the degradation of our political system and national culture that Boris Johnson embodies:
“Let me be clear about what I’m saying about the Conservatives. We now know what a £35,000 a year education at Eton buys you. It’s that ability to stand up, slag off your opponent. If you’re not winning the argument, stand up and raise ludicrous points about the EU banning banana bunches more than three.
If that doesn’t work, you tussle your hair and you grin in an inane manner. If I spent £35,000 a year and sent somebody to Eton and they came out saying that, I’d be disgusted.
I’m talking about Alexander Boris de Pfeffel Johnson, who is debasing the rationality of this debate, and you should be very worried that this guy could be leading your party if he wins the referendum.”
Speaking to Andrew Marr, ex-PM and retired Tory John Major also weighed in against the Leave tactics and rhetoric:
“What they have said about leaving is fundamentally dishonest and it’s dishonest about the cost of Europe. And on the subject that they’ve veered towards, having lost the economic argument, of immigration, I think their campaign is verging on the squalid, and I’ve said so before and I’m happy to say so again.”Porter argued that the Leave campaign did not articulate what they wanted for the future, apart from coveting ‘woolly abstractions – ‘control’, ‘freedom’, ‘greatness’, ‘the good old days’ – and some totally inappropriate models: Canada, Norway, Switzerland’.’ The problem for those of us who will have to live through ‘Brexit’ is that it is far from assured we will get as good a deal as a Norway or Switzerland, and the likes of Gove do not even want such actually existing beneficial trade deals, as they would still have to abide by EU regulations, as Mount has explained.
As Mount explained, for the ‘Brexiteers’ ‘it isn’t about economics’; former Tory Chancellor Nigel Lawson gave him no economic arguments but emphasised ‘self-government’. Few commentators will know more about Tories than ex-Thatcher adviser Mount, and he elaborates a pointed critique of the Tory ‘Brexit’ mentality as inherited from Enoch Powell: ‘Powell had not only a passionate attachment to his own nation-state but a chilly indifference to everyone else’s. He thought the Cold War was a delusion […] He insisted that the Republic of Ireland be treated in all respects as a foreign country. Other countries, other minds have no meaningful existence. Weapons-grade solipsism.’
Mount argued that the Powell tendency persisted in today’s Tory euro-sceptics whom he described as ‘incurably chilly, sometimes abnormally intelligently, often physically awkward and requiring a good deal of personal space.’ He contrasted their paranoia about the EU as a ‘deep-laid plot to undermine and eventually to extinguish the nation-state in general and Britain in particular’ with the ‘energy and farsightedness’ of Wellington, Aberdeen and Palmerston in maintaining the Concert for forty years after Waterloo. He could also have mentioned Churchill’s integrationist credentials. Johnson is always up for claiming Winnie’s mantle but descended into characterising this organisation which, in its infancy, his idol had actively supported into an ‘out-group’, a ‘them’ against ‘us’.
Linda Colley mentioned the fact that other EU states such as Denmark, Holland, France, Germany, Portugal, Belgium and Spain, all had maritime empires, like Britain, and yet they don’t have a national self-image as ‘exceptional’. She argued against the constant placing of “Britain and Europe” as oppositional binaries, and points to many deep historical connections. She identified the ‘overly iconic’ myths of WW2 as primarily causing the British to see themselves as ‘different’, not having experienced defeat and invasion. This lack of humility is our Achilles heel.
Many of the Leave camp exhibited a myopic view; as Mount argues, all of the ‘frictions of modern life’ were blamed on the EU, whereas most ‘excessively fussy regulations’ are due to our parliament, and, I might add, our hegemonic ideology of neo-liberal capitalism is behind present frictions. All of these stunted ‘arguments’ apparently justify the set of massive risks that Mount identifies: recession, trade deal difficulties, a flight of capital, unemployment, the Union with Scotland and the ‘morale of the rump EU.’
Considered economically and pragmatically then, “Vote Leave” simply did not articulate a case to leave or any viable future vision. ‘Brexit’ will leave us prone to a needlessly destructive period of difficult bespoke negotiations – Christopher Chope MP’s ‘WTO option’ is not being ruled out – that will harm British businesses and freedom of British people to travel and work in EU states. It is no surprise that all world governments and a vast array of academic analysts say that it is, on balance, much better to stay. 80-90% of scientists backed Remain for the reason that it was the better option for British and European science, which should know no borders.
There is a fundamental dividing line in the Tory Party and the Right in Britain, and it concerns immigration: the Cameron-Osborne position of being generally relaxed about it, according to the neo-liberal capitalist ideology vs. the Gove-Redwood-IDS position of pulling up the drawbridge, favouring old-school nationalism and specious ideas of ‘the Commonwealth’ welcoming us with open arms. Ascherson discussed the con of Boris Johnson, who claimed he would have his cake and eat it, leaving the EU but remaining in the Single Market, before Gove and others advanced ideas of a glorious isolation, further ‘out’ than even Norway or Switzerland. The City of London financial sector, and the broader UK services sector will lobby intensely for retaining access to the SM; will the Tories be able to resist such calls, especially if public opinion turns even more decisively against Brexit than it has thus far? As Porter argued, four days after the referendum result, the ‘government has been all too willing to disregard the popular will in the case of ‘austerity’.’
Who were the arguers? What authority did they have? Remain had Barack Obama and virtually all world leaders. Leave had among the worst specimens available in the fields of politics, business and ‘punditry’ in 2016: not merely Katie Hopkins and Donald Trump, but also Nicholas Ridley – who, as Mount acidly recalled, showed the same ‘flamboyant optimism’ in his previous role as chairman of Northern Rock. Then there was the supposed bright spark Michael Gove, someone worth listening to above ‘expert’ opinion, apparently…
I would rather listen to academic and world opinion than to Ian Terence Botham on an issue of this magnitude, seemingly many millions did not.
I am unsure quite how the distrust of ‘experts’ fits in with the national characteristic of trusting empiricism over ideas… Many in England clearly have felt starved of emotional and atavistic attachments to identity – and this arrogant sense of national grandiosity has overridden concern for data or fact-based arguments. As Ascherson argues, ‘Behind Brexit stalks the ghost of imperial exception, the feeling that Great Britain can never be just another nation to be outvoted by France or Slovakia.’
How did Leave voters justify their gamble? Channel 4’s interviews with Barnsley Leave voters revealed a sentiment important in the result: "It's all about immigration". They were no doubt further riled up by the scaremongering claims about Turkey joining the EU, rightly dismissed by John Major as ‘nonsense on stilts’. I feel sad for the deluded people of Barnsley. As Hanley has argued, they were expressing that ‘the way the modern world works was not working for them.’ In reality, they are clearly not going to get what they want – unless the anti-single market isolation mania of Gove wins out – and, either way, they will face more austerity as EU Regional Development money goes towards corporation tax cuts, or just goes. Will they be open to learning about what the actual, complex situation with immigration is? Will they be open in attitudes to the world and the 48% of their country who took a different view? Or will they just have to accept their part in our sliding backwards in outlook towards the sort of brutality depicted in Oi for England and Tales out of School: ‘Made in Britain’?
"I think it's put England back on the globe again, and I feel very proud!"
Yes, but as an infinitely sadder, poorer, more isolated island, with the prospect of a "brain drain" of a much larger scale than the mythical 1960s/70s one. As Ascherson explains, the USA would turn from London to Berlin. As he states, ‘isolation brings out the worst in Britain’ and giving a detailed example of its ineffectiveness when peddled by Chamberlain in the 1930s; then, how we learned the lesson and got involved in a unifying Europe, post-WW2.
A problem for Remain was, of course, the lack of positivity in the message they articulated. But could the likes of campaign-leader George Osborne credibly offer ‘positive’? Would the media allow such a case to be heard? Labour, the Greens and the Liberal Democrats were all marginalised by a pathetic, Johnson v. Cameron-framed media perspective on the referendum. As Tom Ewing has argued, there was sadly no popular voice of pro-Europeanism around like Charles Kennedy.
Mount stated the major unarticulated positive of the EU; it being designed to ‘retrieve the nation-state from ignominy and demoralisation after two catastrophic world wars’; a ‘worthy’ purpose in exchange for an ‘ultimately retrievable […] sacrifice of day-to-day sovereignty and a piffling contribution from national revenues’.
The arrogance of Leave was in its assuming that all EU countries want to be ‘freed’, just like an over-entitled Gove hamster. As Mount argues, ‘there are still plenty of nations that regard membership as the best guarantee of peace, stability and prosperity and are clamouring to get in. They may be deluded, but who gave the gleeful hamster [Gove] licence to set about demolishing the shelter they are struggling to reach?’ Colley argued that we in Britain have become ‘cosseted’ and ‘blissfully forgetful about the prospect of military conflict’. She also stated that both NATO and the EU (and its predecessor organisations) have ‘played an essential role’ in keeping the peace. She warns of US isolationism under a possible President Trump and the possible US drift from backing NATO – ‘Europeans […] will need to collaborate ever more closely to defend themselves’.
Nobody in the Remain camp saw fit to counter the myths of anti-democracy in the EU, but conceded the argument. Mount refers to how the European Parliament ‘gives democratically elected representatives from the whole EU an opportunity to help frame the rules, which British MPs don’t really have’. He also defends the European Council of ministers, as ‘itself an elected body’, with its dinners and wrangles thrashing out a consensus in the style of an Indian panchayat: perhaps ‘a more appropriate method of seeking a way forward for such a vast and heterogeneous community’.
So, 17-odd million people on this self-mythologising island have thought in a meagre, limited way and not about the impact on the future of the UK itself or on the impact on the rest of Europe. They have regarded the Daily Express, the Daily Mail and Boris Johnson MP (the most odious politician ever, as grinning superego to Farage's id) as more worth listening to than academic experts. These sadly myopic attitudes will mean 23/06/16 will be an infamous day in world and UK history, instead of some equivalent of American Independence Day for the people of Barnsley.
 Mount, F. (2016) ‘Nigels against the World’, London Review of Books (38)10, 19th May [online] Available at: http://www.lrb.co.uk/v38/n10/ferdinand-mount/nigels-against-the-world[accessed: 01/07/16]
 Colley, L. (2016) ‘An island, but not in isolation’, New Statesman, 10-16th June, p.35
 Mount, F. (2016) ibid.
 Mount, F. (2016) ibid.
 Major, J. (2016) ‘Sir John Major’s Interview on the Andrew Marr Show’, The Rt Hon Sir John Major KG CH, 5th June. [online] Available: http://johnmajor.co.uk/page4401.html [accessed: 28/06/16]
 Porter, B. (2016) ‘Historic failure’, LRB blog, 27th June [online] Available at: http://www.lrb.co.uk/blog/2016/06/27/bernard-porter/historic-failure/ [accessed: 01/07/16]
 Mount, F. (2016) ibid.
 Mount, F. (2016) ibid.
 Mount, F. (2016) ibid.
 Mount, F. (2016) ibid.
 Mount, F. (2016) ibid.
 Colley, L. (2016) ibid., p.35
 Mount, F. (2016) ibid.
 Mount, F. (2016) ibid.
 Galsworthy, M. (2016) ‘Angry scientists must fight to pick up the pieces after Brexit’, New Scientist, 27th June. [online] Available at: https://www.newscientist.com/article/2095198-angry-scientists-must-fight-to-pick-up-the-pieces-after-brexit/ [accessed: 28/06/16]
 Ascherson, N. (2016) ‘From Great Britain to Little England’, New York Times, 16th June [online] Available at: http://www.nytimes.com/2016/06/19/opinion/sunday/from-great-britain-to-little-england.html?_r=0 [accessed: 01/07/16]
 Dearden, L. (2016) ‘Brexit research suggests 1.2 million Leave voters regret their choice in reversal that could change result’, The Independent, 1st July [online] Available at: http://www.independent.co.uk/news/uk/politics/brexit-news-second-eu-referendum-leave-voters-regret-bregret-choice-in-millions-a7113336.html [accessed: 04/07/16]
 Porter, B. (2016) ibid.
 Mount, F. (2016) ibid.
 Ascherson, N. (2016) ibid.
 Major, J. (2016) ibid.
 Hanley, L. (2016) ‘Divided Britain’, LRB blog, 24th June [online] Available at: http://www.lrb.co.uk/blog/2016/06/24/lynsey-hanley/divided-britain/ [accessed: 01/07/16]
 Ascherson, N. (2016) ibid.
 Mount, F. (2016) ibid.
 Mount, F. (2016) ibid.
 Colley, L. (2016) ibid., p.35
 Colley, L. (2016) ibid., p.35
 Mount, F. (2016) ibid.
Thursday, 23 July 2015
Written by Ruth Raynor; Directed by Neil Armstrong
Caedmon’s Hall, Gateshead Library
Thursday 16th July 2015
It wasn’t quite Byker Grove meets Brecht, but while that is a pleasing notion for the noggin, this was tangibly necessary: a humane, subtle drama about austerity and its impact on community. Not placard-waving, confrontational agit-prop but a demonstration of what our people are like; this is who you are trying to do down and what you are trying to take away, Mr Osborne.
There is a place for political theatre, and the time is surely now. We’re faced with an arrogant government, on a low-turnout 37% vote-share ‘mandate’, that looks to further curb trade unionism, cut back legal aid, turn education into solely a financial transaction, close libraries and open up the countryside to the moot practice of fracking. An administration that is seriously considering making people save up for their own sick pay.
Raynor has spoken of being inspired by the writing of the likes of Alan Plater and Tom Hadaway; the influence shows; something of the jovial, egalitarian spirit of Plater is transposed to the inexorable treadmill of austerity Britain in 2015. She sets the piece in a Gateshead Community Centre, which has just about kept going through already harsh financial ‘economies’ in previous years.
The Gateshead parliamentary seat has the 92nd highest unemployment rate in Britain (5.9%) and the 26th highest seat with constituents who are in very bad health: 2.07% 34.45% live in social housing – also 26th highest out of 600+ constituencies. 30.47% of people have no qualifications. 22.55% of people hold no passport. While UKIP did well here in the last General Election, finishing second with 17.8% of the vote, this was considerably less well than in Tory seats in Essex and Kent or coastal north east constituencies such as Blyth Valley and Hartlepool. Only just over one in ten of the 'Heed' electorate voted UKIP. This play does not engage in the media habit of assuming that this vocal minority therefore demonstrates that the people of Gateshead have a resentful, insular mind-set.
Raynor has commented that her play ‘was built with the kindness of a Tyneside women’s group. Participants took part in a range of workshops and interviews and gave feedback on two drafts of the script. Because of cuts and changes to the terms of funding the group is no longer running.’
There is a complex dissolving of hierarchies within the Centre's women’s group, which is not homogeneously this or that (working-class, middle-class, underclass), but is carefully pitched and realistic to the locale. The older community centre worker Lesley, with her beliefs in Noel Edmonds – false-consciousness subtly and funnily highlighted – and the feint but palpable class memory coming out in Sandra when she talks about the ‘New’ Jarrow March and its Facebook group. The strong women of this play - chiefly Lesley and Sandra - mirror Heather Wood of Easington Action Group, who I saw speak forcefully and eloquently of practical community campaigning at the recent Durham Moot event.
Lesley (Judi Earl) is the convenor of the group, unpretentious and grounded, yet with odd ideas about self-help. Katie (Christina Berriman Dawson) is morose, glowering and reluctant mother of six, but who grows into the action and with the group. Sandra (Jessica Johnson) is the most forthright and belligerent, with a rough way with words, and who is incredibly articulate. Julia (Arabella Arnott) seems like she'll be an overly stereotypical materialistic middle-class lass, but isn't quite so clear-cut. Rosie (Zoe Lambert) is the theatre project leader, idealistic and driven, if less worldly than she might think. The cast is uniformly excellent, able to veer seamlessly between gags and pathos.
The play mixes and contrasts high and low cultural references – the ancient Greek Orpheus myth with Die Hard and Crinkly Bottom. This is necessary to take the audience with the action, and weave in the political ideas. What does this say to me about my life? You feel that Raynor is pondering and addressing this question for a wide range of local audiences – the play was also staged at Newcastle’s Alphabetti and the Washington Arts Centre. Music is shrewdly used: from a looped intro from recent-ish pop that I cannot place, to two Crowded House tracks, including the apt melancholy of ‘Don’t Dream It’s Over’ to close.
She also astutely includes a mixed lexical register of “shite”, “asset management” and “wifey” and the ace wordplay of “Start Arts”. As well as posing the comical interrogative: ‘Remember Blobbyland?’ There is some sense of language being contested, while the financial parameters are set from Westminster.
Ruth Raynor’s play is more Mhairi Black than Liz Kendall. It is controlled, funny and tender and yes, it is angry. There is class consciousness and compassion for disparate people. We need this sort of thing on telly, and a better BBC to produce many new and proudly low-budget single plays in place of high-cost adaptations and costume serials.
In post-Chavs era, we should have seen the back of grotesquely stereotypical representations of the working or under-classes. I don’t think we have. Nor does Raynor, who knows that current snobbery is the path to decay; she doesn’t just see the best in people, but sees that drawing lazy or prejudicial distinctions is not the way to live your life. The play carefully displays human differences and foibles, but implies that only in acting together – metaphorically and literally – can we laugh and connect, or indeed achieve anything of lasting worth.
Monday, 25 August 2014
So, Edinburgh, 2014: four nights, five days, twenty-five shows, shared with a friend who was a Fringe neophyte. There was unwise traipsing around on an inevitable rainy day. There was wise staying-put around the venues with free shows. There was a geographically handy B&B with a helpful proprietor. There was some planning - but not too much! There was inadvertent incongruity in hearing, but not seeing comedy from a 'have-a-go' Geordie comic in an Open Mic night at a random bar. His 'so-so' routines were played through the PA and speakers right by our table, which was in a completely different part of the bar to the performance. His thing was a vaguely Viz-esque quoting of working-men's club 'non-working' regulars and the older north-east generation: 'Me granda said: "they ran onta tha field like a pack o' gays!"' Which was weird without seeing facial expressions and further de-contextualized by our missing the first part of the gag! If it was a gag.
The Edinburgh Festival is a sixty-odd year institution with the emphasis on odd. At least its oddity will reveal itself, if you let it.
Such an expedition has to include some familiar figures, venues and personal institutions. So it was that we took in Richard Herring: Lord of the Dance Settee (Assembly Square, Sunday 10/08/14). A good, if much more ragbag show than his previous ones I've seen that touched on sex, death and the male member. He had an amusing teenage holiday story, a right-on demolition of those on Twitter who oppose International Women's Day and told of odd goings on in a wood (a disturbing doll placed in a rustic window, looking out at passers by!). All pretty good; a mix of the serious and utterly silly - yet the Sunday night audience's spirit seemed quelled - either by that day's torrential weather or by sheer lack of humour! Quite saddening to witness, really, as it had the sort of amateur charm and sense of arcane absurdity alien to the bland McIntyre-and-assorted-Russells school of comedy.
"We have freedom of speech. We should have freedom of thought..."
Then there was Simon Munnery Sings Søren Kierkegaard (The Stand, Saturday 09/08/14). Munnery has, in many ways, got me 'into' stand-up. I'd liked Bill Hicks - who didn't, who was at university from 2001-4 and who had anything approaching a counter-cultural mindset? But most of the comedy I'd loved was on the box - Chris Morris, Alan Partridge, Steptoe, Fawlty etc., plus a late-night BBC-2 dose of absurdism called Attention, Scum! This 2001 series was where I first encountered Munnery; I went to my first Edinburgh Fringe in 2007 - if just a day trip, featuring his show at The Stand, which involved improvised routines based on the audience's suggestions placed on a rock by the stage. It was another five years before I actually made a fuller Fringe pilgrimage. In 2012, I 'saw' - or was involved in - the immersive La Concepta: perhaps the funniest live comedy I've yet experienced, where Munnery attended to an audience of 12 'diners' in a surreal virtual restaurant. Since then, he'd done variants on his winning Fylm template - which I'd seen both in Edinburgh in 2013 and in Newcastle twice (most recently, 08/04/14).
This new show on Kierkegaard - its title referring to Arthur Smith's Leonard Cohen themed show, which my parents saw last year in Edinburgh - was more autobiographical and political than usual; Munnery will never deliver the expected and repeat himself. This involved not just a thoughtful attempt to derive comedy from the dour Danish Christian philosopher Kierkegaard's words, but a dissection of Munnery's university experience at Trinity College, Cambridge and the class implications of The Jam's 'The Eton Rifles'.
Compared with my last two Fringes, I saw relatively little theatre. Altamont (C Nova, Monday 11/08/2014) was an impressive one-man show - with John Stenhouse telling the story and enacting the characters connected with that disastrous venture. The amorality and shoddy organisation of the event seems to symbolise the limits of what rock 'n' roll could achieve. Could an emancipatory movement be forged with the participation of violent hell's angels or the market-liberal figurehead Jagger? Stenhouse conveyed chaos and crushed dreams in a well-paced, impressionistic show.
Jessica Spray's I Need a Doctor! The Whosical (Pleasance Above, Sunday 10/08/14) was a very affable mainstream musical take on the great British institution of Doctor Who. Perhaps overplaying the postmodernist card - repeated references to avoiding copyright-infringing use of 'iconic' DW names - yet with a sense of knockabout timing that beguiled. You entered to the strains of the Timelords' 'Doctorin' the TARDIS'. The audience consisted - oh that cliché! - of all ages and the show was enjoyed. Spray was a clever, sassy, spectacled companion - far preferable to Clara. There were some witty lines for different sections of the audience - a hard one to be able to please, potentially. It did get me thinking of how I could write a more eccentric, out-there musical on the same theme ('Corridors and Air Ducts'? 'Sweet Skarasen', anyone?), but then such a venture wouldn't be a large crowd-pleaser like this was.
The more niche DW related show was Richard Tyrone Jones: Crap Time Lord (Pilgrim, Tuesday 12/08/14); Jones, a self-styled 'ginger Nigel Havers of the spoken word scene'. We were late to this, due to an overlap with the previous spoken word show at the Labyrinth, so instead of interrupting, sat in the bar listening to the show - which was behind a curtain. RTJ (sorry, it's a Doctor Who thing!) most pointedly does need a Doctor, and his erudite, absurd show explored his health issues through the DW lens. A hospital's heart monitor screaming in time like Bonnie Langford. A frame of exophoric reference that takes in W.H. Auden, Catullus, Lovejoy, Thaksin Shinawatra and coming "back to my TARDIS, to see my Terry Nation". Wonderful mix of euphemisms and bathos; I must actually see his full show - and not just what was an in-effect audio version...
He made the best reference to the nature of the Free Fringe: "Don't put any coppers in... As when they hit the bucket they sound like a Cyberman's tears."
Free shows included John Kearns' Shtick (Voodoo Lounge, Friday 08/08/14). Kearns, in gormless headpiece and teeth get-up, was affectingly melancholy and rambling. He had a great way of debunking frozen register language: "I think I'll be found dead..." His central story about the old couple in the pub was touching and sad and spoke of habit, ritual and aggravating banality. There is deadpan darkness in attempting to lead an audience in a singalong of Sting's 'Fields of Gold'.
Immediately following this show was John-Luke Roberts: Stnad-Up (Voodoo Rooms, Friday 08/08/14), a Newcastle Upon Tyne-born comedian with some stock gimmicks that, in defiance of explanation, just work: reeled-off insults addressed to the front few rows of the audience (mine was "You're Mork and Mindy, without Mork, without Mindy... and with you as a COCK!") and inventive, bizarre appropriation of twenty-first century standards such as 'Somebody That I Used to Know' and 'Hurt'. It was a show concerning the break-up with his long-time girlfriend, and was winningly melancholy and deranged.
Trevor Lock: Special Mouth Noises (Bannerman's, Tuesday 12/08/14) was impressive, a smaller-scale Stewart Lee-type deconstruction of 'comedy' and, primarily, 'the show'. This improvisational show was constructed from the audience's foibles rather than gags; we were in a small room in Bannerman's pub and laughs arose from how people acted in the claustrophobic setting, as well as Lock's handling of the audience - two people were assigned to take minutes and he took a 'register'. Lock was very observant but not in the smugly observational sense. Constructed rituals, inability to follow instructions, the slants and interpretations we place on things. It was somehow thoughtful and unaccountably funny. With no more than one straightforward 'joke' for the fifty plus minutes of the performance.
Dave Nelder's show Scotland's Referend...uhm? (Laughing Horse @ The Counting House, Monday 11/08/14) was a lightly enjoyable morning show. Not uproariously funny, but since when is comedy just about laugh count? Nelder is a self-styled Gladstonian liberal - isn't Scotland unique in its ability to generate such political affiliations? His other evening show was based on Voltaire's Candide, which we couldn't quite fit in. He had an excellent gag about reintroducing the Merk, Scotland's pre-Union currency, inaugurated around 600AD - which paid off in reference to German economic aid... Staunch feminist and humanist Kate Smurthwaite's The Evolution will Be Televised (Ciao Roma, Monday 11/08/14) was similar in effect, with a larger audience, seemingly comprised of scientific boffins with more knowledge in the noggin than I have on matters Darwinian.
The very last show we saw was Andrew Watts' Feminism for Chaps (Laughing Horse @ The Counting House, Tuesday 12/08/14). Watts resembled a forty-something Jonathan Meades: suit and tie, distinctly RP tones. He was somewhat less acerbic, but pretty much as intelligent as that great TV fusionist of the lecture hall and the music hall. His 'chaps' guide' to feminism deftly educated on the variety of divergent feminisms and indulged in a sense of the absurd and numerous cricket metaphors. The juxtaposition of his patrician, gentlemanly style with the content made for an enjoyably fresh and thoughtful perspective on the subject. Observations of how men are treated in maternity wards mingled with discussions of feminist porn. A wonderful scene was conjured of Watts on a Feminist march in London, being photographed 'cringing' while Kate Smurthwaite was shouting "WHAT DO WE WANT!?" into a megaphone just behind him and there was the most brilliant story to invoke Penfold from Danger Mouse I'd heard all Fringe.
Another PBH Free Fringe show was Pornography and Heartbreak from American slam poet David Lee Morgan (Banshee Labyrinth, Sunday 10/08/14). This explored the sexual psyche - and all the darker irrationality entailed. I'd seen Morgan in 2013, with a much 'lighter' show that distilled his beat-influenced communism. This was intense and compelling; not all shows have to be easily accessible and such truth-telling isn't always going to 'please'. Nor should it.
We frequented the spoken word-specialist part of the Banshee Labyrinth: the 'Banqueting Hall', an excellent little room that is anything but its name - its many free shows are both economical and mind-expanding. You can try out free comedy and spoken word shows with no upfront cost and then pay a fiver or so if it is enjoyed. One we actually wandered into by mistake, looking for Chris Boyd's Ben Target-directed show: 300 to 1 (Banshee Labyrinth, Sunday 10/08/14). This featured poet Matt Panesh playing a teenage boy in his bedroom performing the action film absurdity 300 - while watched by the ghosts of Wilfred Owen and Siegfried Sassoon. A properly odd Fringe show, with Panesh an imposing physical performer, in a show that emitted wisdom as the Edinburgh skies were about to emit great quantities of certain other stuff that day...
On our last day, we had been looking to see The Philosorap Cabaret, but that wasn't on, so we just moved rooms in the BL and saw a compilation show of spoken-word; all really engaging, ranging from onomatopoeiac travel pieces to reflections on Buddhism to words from the Mancunian Zach Roddis, with his inventories of mundane, banal details and assaults on facile cultural clichés:
Grave Invaders (Banshee Labyrinth, Friday 08/08/14) was a 'slam poetry' performance, consisting of three poets with differing yet dovetailing styles: Mark Grist, MC Mixy and Tim Clare. It was loosely based on the premise of a road trip visiting the graves of dead poets, but largely was a showcase for their styles and flow; a mix of the acerbic, bawdy, heartfelt and debunking. There were some excellent puns. There were also deft parodies.
Clare's 'Portishead' assailed not the excellent band but the limited, Tory mindset of the south western town in which he was born in 1981. Grist had a humanist, illusion-less poem about the 'perfect marriage'. The show ended with an agreeably silly 'poets' death match', with the three dressed as a winged man-bee type thing, a 'space unicorn' and a hapless maths teacher.
Shows not enjoyed? Pointless to dwell at much length, but our first was a very mild stand-up show in the Sportsters bar that at least didn't last over half an hour. I didn't take to the storytelling show in the Banshee Labyrinth, Rebranding Beelzebub; just not imposing or original enough. Will be enjoyed by those literally into anything Gothic, but I found the tales and the delivery monotonous; inexorable in the wrong sense. I had perhaps hoped for something surreal and weird in Shakespeare's Avengers Assembleth (Greenside Royal Terrace, Saturday 09/08/14), but it was merely predictable am-dram panto. Some of the actors were broad, others were frothing at the mouth ham-dram. I'm not 'AVING A GO really, as there are far more deserving candidates for vitriol among the most popular comedians. SAA was fundamentally harmless - provided it isn't the only sort of theatre the audience ever thinks to see.
Nothing I saw this year was anywhere near as bad as a non-PBH Free Fringe free show of two years ago, with several comics on the bill 'essaying' a rancid, outmoded strain of humour - aggression, misogyny, homophobia; irony less (not that that's a way-out, Mr Carr & Co.).
I don't like gongs, baubles and awards for the arts... Yet, here's an exclusive 'TOP FIVE SHOWS OF THE EDINBURGH FRINGE 2014'!
5: Hooray for Ben Target! (Banshee Labyrinth, Saturday 09/08/14)
"Hey, easy, asbestos fingers!"
I saw Ben Target (pronounced 'TAR-ZHAY')'s last Fringe show in 2012, which was a revelation to me in how it played with conventions and barriers between audience and performer. And, in its sheer hilarious, unhinged absurdity. This was almost as good, and similarly Dadaist in its free-form splicing of different registers and comedic styles. He presented a fictitious (?) slideshow about his ancestors and grandfather. He had the whole audience assist in making a virtual 'cake'. He had us jumping to the strains of Van Halen in tribute to the 'death' of the band's bassist. Later, Target instructed us to throw our right shoes at him, while he was standing in front of an archery target. Then he produced a riot shield to fend off the flying footwear and finally collated the shoes in a bag and walked off.
4: Free Gaza (Gilded Balloon, Tuesday 12/08/14)
"I thought it was something about a footballer..."
Edinburgh in August can be an education in politics, humour and inform your cultural capital - or sense of yourself, who you are and what you like. Your habitus, in Pierre Bourdieu's terms. Edinburgh might give the discerning 'left-liberal' personality a sense that a lot more is possible, politically and culturally, than might seem to be the case in non-Fringe everyday life.
This was a heartening show; arranged at short notice by the Jewish Socialists' Group and with probably the largest crowd of the 25 shows we saw. All four comedians on the bill had different styles, yet it converged into conveying a humanist message. The Peace Bloc in Israel was alluded to. Money was collected at the end. Josie Long was sparky and charming. Andy Zaltzman was pointed and irreverent and unafraid to be arcane: "You've come a long way for a Graham Gooch". He was just the right side of mainstream. Chris Coltrane, who oddly resembled a work colleague of mine, was a righteous, bald-headed, left-wing activist comedian. He mined the absurdity of how police deal with demos against UK Uncut, and spoke from personal experience.
Then, for Daniel Kitson. A seemingly effortless stand-up style; bantering but with an underlying intellect and comic judiciousness. Like a more rapid fire Trevor Lock, he made comedy from his interactions with the audience and produced a rich humour from the deliberately avoiding mention of the political reason we were here. This was a sort of demonstration of what it is about to be human: not monolithically fixated, but interacting. Trying things out. Improvising. All the better to respond to complex situations - such as Gaza is.
There was even a Leith pun, relating to the decline of their Docks.
3: A Slight Ache (Pleasance That, Monday 11/08/14)
"You could call the police and have him removed. You could say that he's a public nuisance. Although I can't say I find him a public nuisance..."
Tremendous to see Pinter staged, and played with such vigour and understanding. I've seen his work staged just once in Newcastle at the Gulbenkian (now Northern Stage) in 2001: those not living in London don't often get the chance to see the Hackney playwright's comedies of menace. This is an intriguing radio play - staged as a wonderfully absurd sexual power struggle and satire of middle-class pretensions. What it loses in utter bizarre ambiguity, it gains in humour, with Munnery's corporeal presence and inscrutable gaze as the balaclavaed 'match-seller'. Catriona Knox is Vivien Merchant-esque in suggesting reserves of strength and sensuality beneath Flora's seeming primness and Thom Tuck is a megalithically pompous Edward. I had recently watched the 1970s TV version of No Man's Land, and this is similarly evocative in its writing: cricket as perennial exophoric reference, language as chief tool for human dueling. It increasingly strikes me that Pinter is equally and subtly concerned with politics, language and anthropology and shows their inter-relations within a contested culture.
Edward's speech about surveying the local land with a telescope suggests the desire for 'mastery', 'ownership' and the 'rational'. So much else suggests a focus on physical territory and the human concept of property: so embedded in British culture, law and politics since John Locke. Wonderful stuff this play, and I haven't even got to the 'Barnabus' scene!
2: Lippy (Traverse, Saturday 10/08/14)
"It takes more than rooms and chairs to make a home..."
My favourite theatre show of 2012 was the participatory and political piece about the Covent Garden Old Price Riots of 1809: Kemble's Riot. In 2013, it was was the inventive, physical and auditory spectacle of The Secret Agent, incisively adapting Joseph Conrad.
This year, I'd tried to book for several things at the Traverse - but too late, and with no luck. Other than this Dead Centre production, which was directed by Ben Kidd - who I later realised was behind Headlong's excellent production of Spring Awakening, which I had seen at Northern Stage earlier this year (and mentioned towards the end of my last piece here).
Like Spring Awakening and the work of Dennis Potter and David Lynch, there was an enveloping use of music: as something which beguiles and haunts, in equal measure. The end-section - with its Joycean dialogue emitted from a Beckettian mouth - was somewhat too conventionally modernist, in contrast with the rest of the play. It opens with a funny 'post-show discussion' that circuitously and deftly introduces the play's themes of lip-reading and the incommunicable. Then it shifts into 'depicting' the unimaginable circumstances surrounding four Irish women's decision to starve themselves to death, barricaded in their Leixlip home and erasing all traces of their identities. This was a news-story from 2000 - and the play makes clear the difficulties associated with finding meaning in such an act with limited 'evidence' on hand.
There is barely any discernible dialogue, for the most part. And that is vital.
This experimental production will necessarily divide critics and spectators: isn't that rather better than bland consensus? I certainly prefer theatre to challenge ideas of life and the world and make use of unusual staging techniques and, most of all, sound, in order to do that. Rather than be some pleasant 'pastime' viewed from behind the proscenium arch and thoroughly compartmentalized. The place 'to be' to keep up social appearances? Or a place to shape your world? Is it merely all about nice dialogue and 'life-like' acting? Or stage craft to fashion 'fantasies' or expose 'realities'?
Gilbert Adair's piece on Tom Stoppard's play Travesties (1974) in Myths and Memories comes to mind. As does the thought of such productions from before my birth as the Theatre Workshop's Uranium 235 (1946) and David Edgar's Destiny (1976).
This production troubled me and made me think, and was brave enough to offer no answers or definitive, didactic interpretation of the Mulrooneys' hauntingly inconclusive story.
1: Nathan Penlington - Choose Your Own Documentary (Gilded Balloon, Monday 11/08/2014)
I won't say too much on this, other than the imperative: go and see it. This has deep pathos and is uplifting like you wouldn't think possible. It demonstrates the need for fictions, myths and stories as well as Jonathan Gottschall or Joseph Campbell. It is innovative and interactive, in a way deeply relevant to the heart of the show. And, yes, there is the heart that we need.
Tuesday, 3 June 2014
'From the Tyne to where to the Thames does flow1: AZTEC CAMERA - 'Good Morning Britain' (1990)
My English brothers and sisters know
It's not a case of where you go
It's race and creed and colour.
From the police cell to the deep dark grave
On the underground's just a stop away
Don't be too black, don't be too gay
Just get a little duller.'
'Birds' is serene, celestially jaded 1993. It can't get more of the minute in post-2014 European Election Britain than 'Good Morning Britain'.
In other ways, 1990 seems utterly unreachable: 'World in Motion'. 'Killer'. Sentiments:
'A uniform's a traitor
Love's international'2014: pointing fingers to exercise influential power.
2: Lord KITCHENER - 'London is the Place for Me' (1950)
The UK media peddled many facile myths about the 2014 local and European Elections; one was that London voted drastically differently to the rest of the country: London as open, multicultural, defiantly anti-UKIP. Yet they did better in outer London suburbs than in the northern cities. No council seats in Manchester, Sunderland, Durham, York, Newcastle, Liverpool. Take that, 'earthquake' inciters! But, Sheffield: be ashamed o' yessels!
Lord Kitchener isn't in the business of smugness or self-congratulation. This is music here that evokes all the best in humanity, not portentous predictions involving foam.
3: Damon ALBARN - 'Lonely Press Play' (2014)
You get the sense that Albarn would not be oblivious to the sentiment in 'London is the Place for Me'. Is there anyone else in blighty who writes better melancholy slow ones?
4: Karen GWYER - 'Lay Claim to My Grub' (2014)
This music envelops, branches out. It advances on the Wolfgang Voigt model. Not all music has to have these lexemes...
'I close my eyes and dream about changing'5: Sally SELTMANN - 'Dream about Changing' (2010)
Can we craft a world in which this is the popular music? Avalanches meet Feist, in several senses.
6: COMMON - 'Nag Champa (Afrodisiac for the World)' (2000)
More 2014 music of the ilk of Nas. OutKast. Common. Please!
'My verse depth, is that of a baby's first step
Or the old lady who died and the nurse wept'7: LEGENDARY PINK DOTS - 'Pendulum' (2013)
'Your honesty is a saber tongued assassin in a loud checkered suit.
A tap dancing killer on a grave, ranting about truth. Although, the funeral party left long ago. There is no place for small (mouses?) in your sterilized universe.
It's black, white, and very red, where the blood of liars runs in roman ditches. Lined up, hands tied, no bullet is wasted when it comes to the truth.
It's close range. A 1000 millimenter stare to the hole in your skull. No blindfold.
No u-turns. Truth runs in straight lines. There is no view from the window.
But it's your truth… it's drawn with a stick in the sand, as the desert wind rages, and covers your hands. Blameless once more, in the end, just a man... Just a man like me.'This formed the opening to one of the most imposing, beguiling live performances I've ever seen, 2014 or any year. Star and Shadow Cinema (where else?), Friday 11th April 2014. There's a recording of a gig with basically the same set here.
8: HALF MAN HALF BISCUIT - 'Even Men With Steel Hearts' (1995)
Our witty, humane music of the 1990s, that doesn't elicit broadsheet panegyrics and seasons on BBC 6 Music. Nigel Blackwell uses words like 'augurs' and his language has a range of communication that is peerless.
'Even men with steel hearts love to see a dog on the pitch
Even men with steel hearts love to see a dog on the pitch
It generates a warmth around the ground that augurs well for mankind
And that’s what life’s about'
'As the replay comes on, the commentator draws our attention to a retriever standing inside the goal, next to the post. Fortunately for the referee, it was human, rather than animal, intervention which prevented the goal. Something interesting then happens as the commentator asks ‘Do you like me sometimes wonder why on earth people sometimes bring a fine-looking dog like that to a ground like this?’ and claims that ‘the fans just want him away’. The fans, actually, are palpably overjoyed about the dog, despite the fact that the home team have just been denied a goal. HMHB were absolutely right: if there is one way of finally settling the epistemological dispute about who are ‘real’ football fans and who are not, just put a dog on the pitch.' (Joe Kennedy, Straight off the Beach, 19/05/2014)9: Björk - 'Venus to a Boy' (1993)
To pub quizzes at the Carriage by Jesmond metro station.
To songs, heard by chance, that won't let go.
To opening lines that aren't typical opening lines, that don't apologize for being opening lines:
'his wicked sense of humour
suggests exciting sex'10: DISCLOSURE (ft. Eliza DOOLITTLE) - 'You and Me (Flume Remix)' (2013)
'So please don’t let go, cause you know exactly what we found
So please don’t let go my darling
You keep me locked up underground
It’s gonna be you and me
It’s gonna be everything you’ve ever dreamed
It’s gonna be who and me
It’s gonna be everything and everything, we’re meant to be'
Rites of spring. Rites of passage. 1906. 2014.
I wasn't alone in finding Northern Stage's version of Wedekind's controversial old German play a gripping experience. Impossibly affecting usage of this remix within its story...
Don't those lyrics almost evoke Al Bowlly? Thoughts of Pennies from Heaven following the sad passing of Bob Hoskins. The unobtainable dreams that popular song, banal-sublime, can give wing to. Like moonlight on a highway, this remix transforms 'You and Me' into something that transports. Most purposeful 'strings' on a pop song since 'ill Manors'.
There's an opening narration to the play - from unseen speaker over the PA - which evokes the mottled art gallery preciousness we all know so well. Vecchio's Venus is described amid a distancing aestheticism. Then, the curtain rises to reveal a man, sat at a seat and he is doing what we think he is doing... that wouldn't be seen in a heritage production where what stays behind the proscenium arch is always going to stay behind there and not engage on a visceral or intellectual level.
Saturday, 8 February 2014
'Lest we forget, the Seventies was a decade in which people bought salted pub-nuts in the hope that the landlord might pull the staple on the bag that would reveal a small square patch of Page Three stocking-top; in which millions of satisfied viewers watched speeded-up footage of Benny Hill chasing models around a car park; in which cinemagoers made Come Play With Me Britain's longest- running and most profitable domestic movie - a record it still retains. Whether you consider them evidence of depressing ideological backwardness or a refreshing absence of modern prudery, these phenomena are just as much part of the fabric of the period as Arctic Roll, Anthea Redfern and Hector, Kiki and Zaza.'
- Matthew Sweet (The Independent on Sunday, 16/05/2004)
In this film, which opened on 21st March 1978, there are mildly grainy shots of 1970s London locations and we hear hazy disco era music in the background. A Financial Times article in April 1981 revealed that What's Up Superdoc! along with the likes of Erotic Inferno, Boobs and Diary of a Space Virgin, had received subsidy from the state-backed British Film Fund, the so-called Eady Levy. This sex-comedy tendency was the flipside of such obscure, challenging late-1970s British films as The Shout, Radio On and Jubilee. By and large, it was the Great British Sex Comedy which kept actors and film crews gainfully employed as the 1970s progressed.
I watched this, curious to see Beth Porter in another role after her central performance as Kitty Schreiber in the stupendous Rock Follies of '77. Unfortunately, What's Up Superdoc! is the anti-Rock Follies. Its writer-director Derek Ford's dialogue is thunderously inane, where Howard Schuman's is finessed and punchy.
Here is an all too liberal sampling of Ford's wit:
"Maybe it's on the National Health..."
"Like a bull in a china shop..."
"That word! [...] That could even give Mary Whitehouse a baby!"
"They didn't tell me he was a WANKER!"
Christopher Mitchell's titular 'Superdoc' - Dr Robert Todd - is entirely without social context. He is a moustache and eyebrow twitching atom in a world of cardboard amorousness. He is the male 'hero' who indulges in the usual wish-fulfillment fantasies and is every bit as annoying as Robin Askwith and a good deal smugger.
|Obligatory Soho strip club scene alert|
|Corbett ponders the Faustian pact of being in this film|
Green's massively popular talent show Opportunity Knocks had been axed in the same month this film premiered in the UK, following his regular use of the programme as a bully pulpit for his right-wing views. An open supporter of Thatcher's Tories, he had performed his reactionary monologue 'Stand Up and Be Counted' on the show in December 1976, railing against the unions, the Labour government and various shirkers. It was Thames' Head of Light Entertainment Philip Jones who sacked him and went onto commission the excellent Shelley (1979-92): a double blow for enlightenment in British television.
In July 1978, Green was booked by the peelers for drink driving. A year later, he was telling the Daily Express: "The Reds aren't under the beds. They're right in there, running the programmes [...] Evil people are putting out anti-British propaganda." (25/07/1979)
Green had complained that TV was being deluged with filth; he clearly cared so genuinely that he decided to appear in this irrefutably moral caper! And I assure you, he doesn't use the word 'wanker' three times...
The film is a deeply unedifying spectacle. We get the most gobsmackingly crass, inapt reference to Jimmy Cagney in White Heat ever committed to film; we get the apter fact that some filming was done at the troubled British Leyland Motors. We even get a Bill Pertwee cameo, with the Dad's Army actor essaying an appalling American accent. It lacks even the down-at-heel bathetic appeal that Matthew Sweet just about discerns in the most successful film of this peculiarly British genre:
Once the lights had gone down on Come Play with Me (1977), for instance, those punters who had slavered over the ads which promised "10 girls being screwed by 10 guys at the same time culminating with a group of Hell's Angels coming to an orgy party," found themselves watching Alfie Bass capering about in long-johns, bowler hat and Hitler moustache, droning his way through a weak music hall number; Irene Handl, mumbling her way through a script upon which she has only the slightest of grips; and production values so low that when Henry McGee dries up and looks into the camera for help, the shot stays in the picture.It is just dully preposterous bunkum: watching it is like being forced to inhabit the psyche of UKIP idiot Godfrey Bloom for ninety minutes.
The one element that momentarily beguiles is the library music-style soundtrack; lounge disco with copious guitar and those late-70s synths. It isn't Moroder or Dee D. Jackson: see a piece on neglected 1970s music that David Lichfield and I put together here. The music is proficient and curiously sedated - like those honed, becalmed recordings you used to hear on Ceefax late at night after the main BBC programming had finished.
What'S Up Super Doc by crazedigitalmovies
The strangely serene music is often cut off 'amusingly' in scenes of excruciating dialogue, for little or no purpose. While some of the music is very pleasantly of its time, I doubt the titles-song 'Hold On! I'm Coming!' will be gracing Jonny Trunk's excellent OST Show on Resonance FM anytime soon.
The film is prurient and witless: a deadening combination. You don't have to be Mary Whitehouse to find its objectification of female flesh one-note. Only Porter displays an inkling of character, albeit within the constraints of playing that sex-comedy archetype the uncontrollable nymphomaniac. The New Yorker essays a very passable Scottish accent and has a magnetism quite unlike any of the other identikit actresses who parade for the Superdoc's attention.
1978 was a year of British cinematic atrocities: this joins two other films that would have to be among my ten least favourite films: the bleak, dismal Carry On Emmannuelle and the painful Cook & Moore debacle The Hound of the Baskervilles. What's Up Superdoc! represents a mainstream British culture happy to turn out utter shite at the same time as Post Punk, disco, experimental theatre and television drama were proving far more progressive forces.
It's rubbish. It's British rubbish. No buts about it.