The principal selling point of this
“part play, part gig, part installation” is not that it is the first
theatrical presentation in the exhibition/display space of the Wellcome
Collection, but rather that it involves singer, songwriter and activist
Billy Bragg, the erstwhile bard of Barking. Truth to tell, the handful
of songs played by Bragg and his band add colour and depth to Mick
Gordon’s play but are not essential to it as theatre. Rather, the value
is more intangible: any contemporary exploration of English national
identity must inevitably address the appeal of far-right political
groups, and so it is valuable to have the active endorsement of one of
the greatest living exponents of the distinction between patriotism and
nationalism, especially now. As Bragg put it on press night, “At a time
when these rascals are trying to get elected in east London, [this
play] cuts right through the bullshit.”
Well,
almost right through.
Like virtually every play on the subject, it addresses the feelings of
the white working class in areas such as Essex of being disadvantaged,
even alien in their own country; and like virtually every play, it
condemns the ways in which these are too often expressed; but does
little or nothing to actually rebut them. It is no good telling people
their feelings are wrong morally, without demonstrating how they are
wrong substantively. Here, that occurs only in a passing line or two
from Jon (Justin Salinger), who left home to become a Wall Street
trader and has now returned for his father’s funeral, only to find that
the bully of his adolescence is still a thug and is on the point of
persuading Jon’s brother to run for the local council on a (we infer)
British National Party ticket. Moreover, history is repeating itself,
with Thug Junior heavying Jon’s nephew… or is he his son?
The richness of Gordon’s script, which far outweighs the cautiousness I
have mentioned, is that it includes so many different vectors of
political, cultural, romantic and even musical relationships.
Christopher Haydon’s promenade production makes a lot of smart choices:
a few well-defined playing spaces, occasional use of the areas between
them, and swift pacing rather than waiting for the audience to dawdle
between one location and the next. Ultimately, too, the play bears out
Toots and the Maytals’ observation in the title song: “When it drops,
you gonna feel it/ Know that you were doing wrong.” Let us hope that
also proves true electorally.
Written for the Financial
Times.