Skip to main content

Handbagged

King's Theatre, Edinburgh
Four stars

Freedom and democracy aren't words usually associated with the late Margaret Thatcher, the former UK Prime Minister whose ideology-driven decade in office set the tone of things to come. Those are the exact words, however, which open Moira Buffini's play, which puts Thatcher on stage alongside the Queen as a cut-glass double act showing off the edited highlights of Thatcher's time in office between 1979 and 1990.

This makes for quite a history lesson as Buffini imagines a series of meetings between the pair, simply known here as Q and T. As older versions of the two women watch over these formal and frosty exchanges between their younger selves, a world of IRA bombings, royal weddings and the Falklands War is laid bare as Q becomes a quietly radical conscience of the nation.

All of this is delivered in Indhu Rubasingham's production, originally seen at the Tricycle Theatre in London prior to this commercial tour, in a consciously meta-theatrical manner. Q and T have even hired a couple of actors to play all the bit parts in what T clearly presumes will be a hagiographical homage to her perceived greatness. The actors have other ideas, however, so inbetween Spitting Image style impressions of Neil Kinnock, Ronald Reagan, Rupert Murdoch and co, the 1984 miners strike and the poll tax that brought about Thatcher's downfall fill in the triumphalist gaps.

Kate Fahy  and Sanchia McCormack play their respective versions of Thatcher with a pitch-perfect haughtiness matched by Susie Blake and Emma Handy's takes on her majesty. Of course, Thatcher has the last word, and yes, it is as negative as much else during her inglorious reign.

The Herald, November 4th 2015

ends

Comments

Popular posts from this blog

Ron Butlin - The Sound of My Voice

When Ron Butlin saw a man who’d just asked him the time throw himself under a train on the Paris Metro, it was a turning point in how his 1987 novel, The Sound Of My Voice, would turn out. Twenty years on, Butlin’s tale of suburban family man Morris Magellan’s existential crisis and his subsequent slide into alcoholism is regarded as a lost classic. Prime material, then, for the very intimate stage adaptation which opens in the Citizens Theatre’s tiny Stalls Studio tonight. “I had this friend in London who was an alcoholic,” Butlin recalls. “He would go off to work in the civil service in the morning looking absolutely immaculate. Then at night we’d meet, and he’s get mega-blootered, then go home and continue drinking and end up in a really bad state. I remember staying over one night, and he’d emerge from his room looking immaculate again. There was this huge contrast between what was going on outside and what was going on inside.” We’re sitting in a café on Edinburgh’s south sid

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug