Skip to main content

Alistair Frusish, Daisy Campbell and David Blair - The Sentence

Call it synchronicity, but it was a series of criss-crossing connections which have ended up causing an epic four-hour live reading of Alistair Fruish’s already expansive novel, The Sentence, to be performed in Glasgow. This includes inspiration drawn from Welcome to the Dark Ages, the twenty-third anniversary reunion of Bill Drummond and Jimmy Cauty’s art provocateur double-act The K Foundation in their Justified Ancients of Mu guise.

Fruish’s novel is enough by itself to point towards its experimental countercultural leanings. Plot-wise, The Sentence is a prison-set fantasia in which an inmate is given a drug that slows down time. It is in the story’s telling where the double-barrelled word-play of its author’s intentions become wilder and more mind-expanding. A 46,000-word opus with no punctuation and featuring words of one syllable only, The Sentence was tailor made to be read out loud, and the Glasgow date is the final show of a short tour of some of the UK’s lesser-spotted arts labs.

“It’s like literature as a drug,” says Fruish of a construction already lauded as a grime Under Milk Wood, “but hearing it done like that in one go, I found it at points upsetting and un-nerving, even though I knew what was happening next.”

Performed by a cast of five, who include actor Gavin Mitchell, best known as Boaby the Bar man in Still Game, and actress Frances Thorburn, the Glasgow performance of The Sentence is being directed and produced by Daisy Campbell and Michelle Watson. The pair were recently responsible for putting on a stage version of Cosmic Trigger, Robert Anton Wilson’s sequel of sorts to the sci-fi conspiracy sprawl of his Illuminatus trilogy of novels. The fact that Campbell is the daughter of the late Ken Campbell, the theatrical genius/madman who in 1976 staged a ten-hour stage-version of Anton Wilson’s book, featuring set design by Drummond, is one more link in the event’s umbilical chain.

“There was this wonderful synchronicity the way everyone met,” says Campbell, “and when Alistair wrote The Sentence, it blew everyone’s minds, but we knew the only way we could get anyone to pay attention to it was to do it live. The effect it has, both on the audience and the readers, is quite extraordinary, especially as we didn’t want anyone to have a breather, so if anyone goes out, we have the readers follow them. It’s a story about being in a prison, and we wanted it so the audience couldn’t escape either.”

Having worked as a writer-in-residence in prisons for the last seventeen years, Fruish recognises a snobbery associated with how such institutions’ largely working class constituency are damned by being described as mono-syllabic. The Sentence’s linguistic restrictions could be seen too as a kind of revenge on an educational system that never recognised his dyslexia.

“I like doing things with restrictions,” he says “I do know the rules of English, but I sometimes forget them because of my dyslexia, so I figure I might as well invent some new ones. Having less to work with is a real inspiration, and makes you pay much more attention to language.”

The Sentence is Fruish’s second novel. His first, Kiss My ASBO, is one of a number of books to be banned from Guantanamo Bay. Through its loose-knit underground network of fellow travellers, The Sentence has become something of a calling card for a return to the free-flowing ideas of 1960s arts labs which fostered a cultural revolution later subsumed by a more bureaucratic, ‘centres-of-excellence’ approach which the subsidised arts in the UK has arguably never recovered from.

“Arts labs are about pulling the cosmic trigger,” says Campbell, who will shortly play her father in her new monologue, Pigspurt’s Child. “When it’s a load of people just getting on with doing things and not having to spend all their time filling in forms, everything’s much more fun. People are so willing to make things happen, and if you get a title and do the poster, then it means you have to make it happen. We’re getting back to having art as a verb rather than a product. Let’s have some arting about.”

Key to making the Glasgow date for The Sentence happen was David Blair. Blair may be best known to some a dancer – if that’s not putting it too mildly - with the band, Colonel Mustard and the Dijon 5. As founders of a peace-loving tribe they call the Yellow Movement, the Colonel Mustard live extravaganza has previously featured Blair crowd-surfing while wearing a mirror ball on his head.

When not indulging in such hazardous activity, Blair is also founder of Arts Lab Scotland, having been inspired to breathe life into this free-thinking autonomous zone after being one of 400 ‘volunteers’ at Welcome to the Dark Ages. Drummond and Cauty’s three-day gathering of the counter-cultural clans took place in Liverpool, where Ken Campbell’s production of Illuminatus! was first produced, and it was here that Fruish first came into contact with Fruish, Daisy Campbell and co.
“It made me want to do more,” Blair says. “There’s a real emphasis in all this on culture as resistance, and it’s about peace, love and bringing a creative community together.”

While Arts Lab Scotland exists for now largely as an idea, on a more practical level, The Sentence will be performed in The Space, based on London Road in Glasgow’s East End. As the first pay what you decide community arts venue in Scotland, it marks a similar return to a grassroots DIY spirit that is currently forming the sort of links the staging of The Sentence embodies.

The performance of The Sentence will also see Fruish visit Glasgow for the first time since he was 18. Back then he was working for independent record label, Blast First, and toured with the band, Dinosaur Jr, selling t-shirts on the merch stall. This time out, The Sentence may be centre stage, but Fruish is already working on a new piece, a play he’s called Blood, Sex and Death, a title nicked from late TV prankster Jeremy Beadle.

“He was a much more interesting person than he appeared to be,” says Fruish. “He had this huge library of weird facts, which sort of goes back to Ken Campbell, but he’d also worked as a tour guide round London, and he said he was the best, because he gave the tourists what they wanted, which was blood, sex and death. When I saw that, I thought, I’m having that.”

As far as The Sentence goes, the possibilities beyond the current tour are endless. An audio book has been suggested as a logical extension of the live reading, and there is scope for theatricalising things even more.

“Daisy was talking about getting someone to remember it and perform it that way,” says Fruish, “which seems a bit unfair, but I do think The Sentence really needs to be distributed widely. The look on people’s faces when they experience it, there’s nothing like it. It’s hard to be original, and people don’t really like originality, but without wanting to blow my own trumpet, I’ve made a novel that’s really novel. I could put it out in a small way, but really I think it needs to be rammed in the frontal lobes of the culture as hard as possible so it can’t be removed.”

The Sentence, The Space, Glasgow, February 11, 1-6pm.

The Herald, February 6th 2018



Fiona Binning said…
I like the idea of going back to streams of consciousness aka 1960s ~ my son thinks that's when we got it all wrong ~ i disagree, i blame the shoulder pads of Britain 1980s ~ what direction does the paradigm shift go in now ~ that of the heart and music and theatre and the arts ~ here is my baby steps blog # the barbed wire was real. The horse has bolted and I now jog for a living # pretty shorts #nice thighs, staring in the face of those who look and knowing that I am a women with a story to tell and a woman who chooses where to lay her love. I hope you enjoy my poems ; i love your blogs as a way to re-tell history within the world of the arts : do you know the world of the arts lies in each individual creative mind ; my email was mentioned today on Radio 2, Richard Madeley, the over enthusiastic beautiful man that he is : check out Ferris & Sylvester ~ the new Simon & Garfunkle according to the rolling stone.

Popular posts from this blog

The Art School Dance Goes On Forever – Snapshots Of Masters Of The Multiverse

Intro – Snapshots – Deaf School


In 1980, the same year as the Manchester band, Magazine, released a 7
inch single called A Song From Under The Floorboards – a three verse
and chorus distillation of Dostoyevsky's novel, Notes From Underground
– an art school scandal occurred.

This scandal took place in Liverpool, and was based around a project
called the Furbelows, although it became better known in the Liverpool
Echo and other organs that reported it as the Woolly Nudes.

The Furbelows, or Woolly Nudes, were a group of artists who had come
out of Liverpool College of Art, who, dressed in grotesque woolly
costumes which featured knitted approximations of male and female
genitalia, made assorted public interventions around the city centre as
kind of living sculptures acting out assorted narratives.

The Furbelows project had been funded by what was then Merseyside Arts
Association, and, after the participants were arrested and taken to
court on obscenity charges after what…

Peter Brook – The Prisoner

Peter Brook is no stranger to Scotland, ever since the guru of European and world theatre first brought his nine-hour epic, The Mahabharata, to Glasgow in 1988. That was at the city’s old transport museum, which by 1990 had become Tramway, the still-functioning permanent venue that opened up Glasgow and Scotland as a major channel for international theatre in a way that had previously only been on offer at Edinburgh International Festival.
Brook and his Paris-based Theatre des Bouffes du Nord company’s relationship with Tramway saw him bring his productions of La Tragedie de Carmen, La Tempete, Pellease et Mellisande, The Man Who…, and Oh Les Beaux Jours – the French version of Samuel Beckett’s Happy Days – to Glasgow.
Thirty years on from The Mahabharata, Brook comes to EIF with another piece of pan-global theatre as part of a residency by Theatre des Bouffes du Nord, which Brook has led since he decamped to Paris from London in the early 1970s. The current Edinburgh residency has alr…

Romeo And Juliet - Shakespeare's Globe Comes to Glasgow

Open-air Shakepeares are a summer-time perennial of the theatre calendar, attracting picnicking audiences as much as midges. More often than not, such romps through the grass are frothy, heritage industry affairs designed to be accompanied by strawberries and cream and not to be taken too seriously. Shakespeare’s Globe theatre company look set to change such perceptions when they open their outdoor tour of Romeo And Juliet in Glasgow next week as part of the West End festival.

For the two young actors taking the title roles of the doomed lovers, it will also be something of a homecoming. Richard Madden and Ellie Piercy both studied in Glasgow prior to turning professional. Indeed, Madden has yet to graduate from the acting course at RSAMD, and, as well as facing the pressures of playing such a meaty role in close proximity to the audience, will have the added anxiety of being assessed and graded by his tutors.

“This is the end of my third year,” says Madden following a Saturday mornin…