Edinburgh Fringe - League of St. George: My Dad used to be a Skinhead and the Strong Women in my life, an interview with the Cast

Sitting in the client services lounge of C-venues, C-Nova, the cast of The League of St. George could not be more relaxed; they were keeping a low profile though, being a skinhead on today (Saturday 17th August) would not have made them too popular in town. 

After all, it was the same day of the SDL (Scottish Defence League) march on the Scottish Parliament but the cast did not seemed phased by the potential attention. 

I asked each member of the Bricks and Mortar Theatre Company about how they got into the show. 

The writer - Georgia Bliss

Geogia describes herself as a warm person and having met her, it is easy to understand why.   

She had been watching shows such as "This is England" and reading "Children of the Sun" which features as skinhead, when she came up with the idea for the show.  As she looked into the issue more, it became "engrossing" for her so much so that she wanted to find out more as the topic really held her interest.

She explains to me that East London, where the Bricks and Mortar Theatre Company are based is literally the epicentre of all things BNP (British National Party).

"Its a strange area, half of the town is very multicultural and the other half are completely against multiculturalism."

She has even witnessed groups of white thugs beating up non-white people at bus stops.

Even in work - Georgia used to work in a call centre - there was racism too.  It was just so blatant, she explains, racial profiling was rife.

"If someone had an Asian sounding name, we were told not to contact them as the managers had already decided that they would not buy..."

 It is somewhat ironic, that the money earned from that call centre job, then went into finding "League of St. George." she explained.

I actually thought that justice.

The Dad - Dan Walker

Dan is only 21, but to look at him, you can see that father figure gleaming in his eyes.

His first overt experience of racism was in High School.  It was the language used, the jokes and the slurs.  He does explain that it wasn't a racist school, but that that kids just didn't' really understand what they were saying; it was like an ideology picked up and spoken without knowing its true meaning.

Dan explains that he liked the writing of the show - not that Georgia is staring at him from across the room.

"I really wanted to be a part of the production" he said.

"My dad used to be a skinhead".  He quickly clarifies.  His dad was an original, working class, skin head, before the image was coined and type cast as racist.  In those days, you got white and black skin heads together.  That is the difference I was told.

Dan talks about the amount of research he did for the show.  His knowledge of social history is absolutely astounding, detailing the complete social stratification of each subculture of the time.

The wisdom of his character also comes through in him when I ask him about standing up to racism.

"It only takes one person to do it" he explains.  Once you do it, others soon follow.

Is he the "batman" of the group I wonder?

Matt Pearson and Nathan Parkinson - The Skinheads   

Both boys seem quiet, relaxed, soft and gentle.  The complete dichotomy of the characters portrayed.

Matt's main interest is that he "wanted to convey and a new story to a new audience".

Nathan also finds the "story the show tells engaging" together with the music.

He also lives in Camden and has been around a lot of prejudice.  He can relate to his character of "mark" played in the show, who can't get a job and the product of bad parenting.  He is clear though, that he he does not relate to the "Anger" or the "Hate".

"Just because you are bored or dont have opportunities, is not excuse for going around mugging and beating people up!" he said.

Matt had a liberal upbringing.  His relationship to his character "Jimmy" is a deeply personal one.

His character, tries to find acceptance and probably lacked any support in school.  This is why Jimmy probably compromises a lot - the need join the League comes from that need for acceptance.    

Matt explains that he is Dyslexic and like Jimmy he did not have that extra support in School.  This is why the relationship is personal.

Holly Mallett - The Strong Lady from the shoe shop

Holly comes across as someone you would want to keep on side.

She explains that there are a lot of strong women in her life.  It was her dad who gave up his job to be a house husband and her mum who went to work.  She describes her house growing up as very intellectual - featuring regular debates around the dinner table.

"My Dad is the biggest feminist in the world" she explains and my family is very matriarchal. 

In terms of the show, she gets a real buzz from it.  "I wanted to be in it as opposed to just Drum in it" she says.

Her character is easy to relate to.  The "shoe shop lady" plays a devils advocate and challenges "Adam" about his role as a skin head; "She really gets the politics of it".

Samantha Lund - The Mum

Sam comes across as the supportive type; it is easy to see the mother in her.

Sam explains that her Mum is very supportive, she is lovely.  She wanted to play a Mum like her own mum.

What attracted her to the show was that she "loved the character" and that it is not preachy theatre.

Is there a message in "The League of St. George"?

The show is not preachy, its the story that is important and makes you want to go an watch it.

Dan says that at the end of the show, "you have an empty glass and should be ready to go get another."  Or, "Just don't be a racist homophobe!"

All the cast agree that Racism seems to be getting worse.  Holly highlights that "life is not so simple and people are just people and that is fine".

Nathan talks about the problem of parenting, "the outdated attitudes are being handed down by parents.  The problem is shrinking and shrinking, but until those attitudes die away, there will always be a problem with racism and homophobia"

The League of Saint George is on at C Venues C- NOVA at 21.55 until Monday August 26th.  To buy tickets, or to find out more visit the Fringe booking site by clicking here.

To find out more about the show and the Bricks and Mortar Theatre Company, visit their site by clicking here.   

    







 

     

Edinburgh Fringe - What I want to say, but never will

Don't speak your mind, there may be consequences.  Keep your opinions to yourself, they are not valid anyway.  I am scared to say it, what if they reject me?  

Sex, pregnancy, coming out as Gay, child abuse, family, divorce, anger, hatred, love, self harm, depression, drugs and alcohol, anorexia, religion, cancer and death.  All Emotions and experiences building barriers between us.   

These are also some of the subjects sometimes found to be taboo.  To put it simply, we find it difficult to talk about them - finding tape put over our mouths. 

What I want to say, but never will, performed by the St. Ives Youth Theatre, is a collection of thoughts, emotions and experience compiled by Alan, an English teacher, of the things that young people in America really want to say and why they feel that they can't.

The thought that our young people feel unable to talk about what is on their mind, or that perhaps we as a Society are not prepared to listen is truly disturbing.  However, this show opens a window into their world and the constraining influences preventing - whether directly or not - the burst for self expression.  

Alan acts as the adult narrator, seeking to encourage each of the young people to come forward and tell their story.  He makes it clear that the show is not about him; which is why his character is taken on by a beautiful teenage girl - contrasted by the middle-aged, balding fat man - that we may expect.

One by one, the cast - all young people - dressed in theatrical black - reveal themselves.  However,  anyone can tell a story, what makes their tales unique is the controlling - even constraining - tape over their mouth.  The tape bears individual words and each word has meaning - bearing that back story - of the tale never told.

When the tape is peeled away, the young people speak; shout; cry and move all in dialogue with their fears.  We never see the reality.  We never know whether the cries are heard; real tears shed, gay children embraced or expelled; the pregnancy reaching child birth or the friendships continuing or ending.

This is the mystery of the performance.  It always leaves you wanting to ask a question and perhaps, you should.   

Of course, Alan admits that some of the stories, or things that young people want to say, lack context.  Some if it is just venting, frustration, hitting out or a need to release that built up angst.  The other stories are more important; abusive parents, self harming, not knowing what to do about an unexpected pregnancy or shouting, seeking and pleas for help.

Are we listening?  That is what Alan keeps reminding us.  Perhaps, more importantly, do we even want to listen?

Adults, whether a parent, guardian, priest or a friend are meant to be there to protect our children.  Who can our young people turn to if there is no one there to listen.

There are two sides to every story.  This is the subtle sometimes that Alan conveys too.  The adult figure may be willing to listen, but has the young person shut themselves off.  Perhaps, they do not understand their parents as much as they think?

This is what Alan advised me;

"What do you want to say but you know you never will?

To whom do you wish you could say it to?

Why won't you say it

This message is important.

Listen to me..."    

 Advice that you too, can take away.

A poignant performance, not best expressed in words alone.  See it and believe.

No five stars could do this show justice - it worth far more than that.

What I want to say, but never will is on at Sweet Venues, Grassmarket at 14.55.  The last performance is on Sunday 18th of August.  Tickets are available on-line from the Edinburgh Fringe box office, alternatively they can be purchased directly from the venue.    

For more information on the St. Ives Youth Theatre and the show itself, visit their website:
http://www.siyt.co.uk/wiwtsbnwe.html

Facebook: https://www.facebook.com/siytsayit
Twitter: @sity_sayit    
 

Edinburgh Fringe - Positive

HIV and AIDS is never far from the front as fundamental issues go in terms of either Equality and Human Rights.  

The need for education around potential sources of transmission, the needs to support people who are HIV positive and perhaps most importantly the need for both societal and self acceptable are also very important.  

Positive, by the West Avenue Theatre Company, takes on the lot.

Here we meet Benji, diagnosed with HIV a year ago and still unable to develop self acceptance.  He is depressed, doesn't sleep well and has little by way of a social life.  He is young, single, gay man but scared of rejection in love.   

We also meet Benji's flatmate.  She is straight and unlike Benji, has a loving partner who fully embraces her and her HIV positive status.  She later tries to push him away; not wishing to burden him with her HIV "problem".   

The show uses the contrast between the two to great effect.

At first glance, it would be easy to conclude that the subject matter would make the show heavy.

However, this could not be further from the truth.  The show uses humour and situation comedy to really develop the issues involved.  Witty and wicked one liners never fail to make you laugh out loud; even when exploring the topic of sex with someone who is HIV positive as Benji is told by someone who lacked understanding:

"...you want to dip my perfectly healthy carrot into your houmous of death..." 

It's not always directly about the HIV though, Benji's complex relationship with his mother and her preconceptions are also explored.  She is genuinely trying to reach out into a world that she knows little about and dearly loves her son.

Can HIV be transmitted from sharing a glass of wine?  What about touching, kissing or the passionate embrace?  This creates some awkward moments, highlighting the struggle that HIV positive people face when telling people - particularly potential lovers - about their HIV positive status.

It is not until the end, that the show covers the most difficult aspect of living with HIV - the diagnosis.  The humour works here as well as not everyone could get away with calling the clinic information as a "bit too primary school" handing out " the leaflets of death..." 

If anyone did not know anything about HIV, about the transmission of the virus, or how it affects the day to day lives of people living as HIV positive you would have learned something from the content.

Positive, is first class; an excellent, educational comedy.

To book tickets to see the show, or to find out more information, please visit the Edinburgh Fringe Online Booking site.  

To find out more about the show directly from West Avenue Theatre, you can visit there site:
http://westavenuetheatre.com/2013/05/17/positive-heading-to-edinburgh-festival-fringe-2013-cast-crew-confirmed/ 

***Stop Press***

You can now listen to an exclusive interview with Rob Ellis, the Director, Will Marsh, who plays "Benji" and Nathalie Barclay who plays "Nikki" in the show.   

Edinburgh Fringe - Bent

Has the world really changed since Nazi Germany and World War Two?  How does society treat people from different backgrounds, if they are LGBT, disabled, not white or a Jew?

The cultural parallels relayed in Bent could not be more relevant to the modern day.  LGBT people facing persecution in Russia, Traveling People evicted by the law, Religious and National conflict based on who you are or where you are from.  As a Human Race, will be ever learn the lessons of the past?

At first glance, it is hard to see how this show could possibly be about the Nazis.

Starting off in a small cosmopolitan Berlin flat, one camp queen - a dancer nonetheless - and a more hetero centric and stoic gay man.  They are living together, drinking coffee following another outrageous night out.  The stereotypical chat about who did who and in what position, does not allude to the more sinister aspects to come.

The first indication that this show has a dark side comes when the couple discuss their landlord - "that dirty Jew" - indicating that the social segregation of German society has in fact begun.  You could have missed the reference, but the Gestapo storming the flat and slitting the throat of last night's sexual conquest gave the reality check that this was no joke!

The couple's struggle begins at this point, returning to what they believe to be their safe place - only to discover that their "friend" had taken money in an act of vitriolic betrayal.  Who can you trust is no one will take you in?

They are vagrant, lacking money, food and a place to stay.  Deprived of their identities by the Nazi State, no where to go.

Capture

Dragged through the woods like dead animals in the night.

This marked the transition; whatever was left of humanity died as they are transported to the Camp.  Death follows; the twisted Nazi psyche is at its best.  The protagonist, humiliated; forced to punch and kill his lover.

Survivial

Left alone, he deals in with the devil and adopts the Yellow Star of the Jew.  This, through is eyes is better than being the Pink Triangle of Queer.  He is no longer a "Fluff" but has become a montage of was formerly his dirty Jew.

Camp

Here an unexpected new relationship develops.  Can the dirty Jew develop a friendship and then something else with a Pink Triangle piece of Fluff?  This new relationship is built on rocks, routine and regrets.    

Silence

Nazi Nihilist entertainment kills in the final scenes of the show.  However, not before the unexpected reclamation of identity, a monologue of memories and a conscious decision not to let the Nazi's control our protagonist's life. 

The drama is powerful and emotive.

The show is deceptive and dark.

It deserves more than five stars.

Bent is on at C Venues, C too.  The Show is on at 22.10 and ends late.  To book tickets or to read more, visit the Edinburgh Fringe Online.  

To find out more about the show directly, visit Table9 Productions http://www.table9productions.com/index.php/edinburgh-fringe-festival/bent

 

 

Edinburgh Fringe - The League of St. George

Skinheads have a certain stereotype; jeans, braces, boots and of course, racist fascism.  
Being Gay just does not fit.

Punk and skinheads may be something associated with 1976 London but Bricks and Mortar Theatre's League of Saint George actually bears more than a striking resemblance to 21st Century Britain.  

There is nothing quiet about this performance and you are hit with that almost walking in the door.

Punk bellows from stage, shouting, screaming excessive overt expressions of masculine identity carefully suppressing anything vaguely feminine.  Its this caveman mentality that sets the scene for the skewed sociology that is to come.

It becomes clear that growing up in this era, in a working class estate with diminished educational achievement and little employment prospects has bred a particular mentality of looking for someone to blame.  In this case, anger vents on local Sikh shop and restaurant owners.

The clever dichotomy of character is thrust into conflict when the lead protagonist - who is also Gay and having secretly declared his love for a handsome Sikh waiter - discovers that it is his lover and his restaurant that is the next target of League.

Although the inner struggle between establishing self identify and submitting to the will of the group carries throughout, other more subtle themes are also explored.  For example, the mother figure - a traditional home maker, assuming the gendered stereotype matching her societal expectation.  The father figure - trying his hardest to be a man, suppressing every public display or affection for his son or his wife - another gendered stereotype explored.

However, there is also the unexpected.  The show demonstrates that fascism has a more acceptable public face than street thuggery portrayed in stereotype.  Its an uncle figure, a family man, middle class, monied, house and family portrait about the fireplace.

This could have been a deliberate insert - a covert inference to Nigel Farage perhaps - with the UK Independence Party (UKIP) as the more socially acceptable, middle class face, of the League today?

Modern day Britain remains full of internal struggle and the sociology of 1970s London can be recognized today.  This is why The League of St. George is so powerful.  It explores modern day struggles, gendered expectations, relationships with family, poverty, the rise of right wing politics in the subtle historic context.

This show is not about just about a Gay Skinhead struggling with his identity.  Its also not purposely described as a Gay show.  The League of Saint George has multiple, complex strands of equality and human rights discourse.  The show has to be highly commended for its educational potential from this point of view.

If you want to see a refection of today's complex, austerity clad Britain mirrored in history, then this one is for you.

The League of Saint George is on at C Venues C- NOVA.  To buy tickets, or to find out more visit the Fringe booking site by clicking here.

To find out more about the show and the Bricks and Mortar Theatre Company, visit their site by clicking here. 
    

"Getting AIDS comes from unhealthy relationships"

On BBC The Big Questions, aired on Sunday 17 March 2013, a religious audience member stated live on BBC TV that "getting AIDS comes from unhealthy relationships".  He went on to reference Gay men and Lesbians.  

The Presenter of the the programme did not robustly challenge him concerning this contribution.  

It can be difficult on a live television discussion programme to ensure that audience participants in the show avoid making derogatory  offensive or prejudicial remarks.

However, the BBC must set some standards for its television presenters and audience participants, even if the show is the topic of Christianity and Modernity.

My primary objection to this particular contribution, is that it was allowed to go unchallenged.

The Presenter moved quickly onto the next contribution and encouraged the audience member to elaborate on his contribution.

Because of the show's religious element, the BBC permitted this particular contribution to be broadcast and also to go unchallenged.

The BBC knew, or ought to have known, that this contribution was both stigmatising and inaccurate.

Two resounding questions for the BBC

Why is it that linking someone's sexual orientation to the spread of AIDS makes acceptable Sunday morning television?

Why is sexual orientation always viewed as a moral issue, inevitably linked to sex and then promiscuity?

History repeating itself?

The comment referencing AIDS to being Gay reminded me of the ill-informed, offensive and "hate" campaigns that featured throughout the 1980s.

At this time, a series of national adverts were being run by the UK Government to make the public aware of HIV / AIDS.  However, the reactionary media, were more focused on linking AIDS to being Gay and being Gay to spreading disease - this is where AIDS got its first name - The Gay Plague.

Call to be vigilant

Has nothing changed?  Or is this just a one off example, of an ill-conceived, off the cuff comment, made to promote the virtues of a religious celibate life?

I would like to think that this is the case.

However, it does go to show that we must all be vigilant.  Public opinion and with it, government and legislative policy can be easily swayed by both positive and negative media portrayal.

"Stories in the media can have a positive effect in increasing people's awareness of HIV and what it means to live with HIV. However media reports about HIV are often stigmatising or inaccurate. Many stories contribute to a culture of blame about HIV transmission, focusing on so-called irresponsible sexual activity, use judgemental language and stereotype people living with HIV."

People who are either HIV positive or who have AIDS already face discrimination and stigma.

We must do all that we can to address this problem and to challenge those, particularly in the media, who would like to see us revisit recent history.

 The episode of The Big Questions is available on iPlayer by clicking here.  It is available for the next 7 days from today.  The Contribution in question was made approximately 28 minutes into the programme.  

I have made a complaint to the BBC.

If you wish to complain too, you can do so by following this link:-

http://www.bbc.co.uk/complaints/