Skip to main content

Whatever Happened to The Jaggy Nettles?

Scottish Youth Theatre, Glasgow
Four stars

Ever been stung by a Jaggy Nettle? No? Then it’s probably time for part time punks of all ages to put on their leather jackets, spike up their hair and moonstomp their way down to see Martin Travers’ sharp as a safety pin new play for the Citizens Theatre’s newly formed WAC Ensemble. The WAC stands for We Are Citizens, and over the seventy minutes or so of Guy Hollands’ raucous production, the one-chord wonders who make up Scotland’s greatest contenders prove themselves more than worthy of such a proclamation.

Its 1978, and like everyone their age, The Jaggy Nettles are making a racket. There’s Robin ‘Bonnie Ann’ Clyde on guitar, Mark ‘Kunti’ Conti on bass, Timothy ‘Timpani’ Abercrombie The Third on drums, plus Tammy ‘Baby’ Walker and manager Lori Logan on assorted shouting. Oh, and there’s wannabe superstar Kathleen ‘P.K.’ Kelly on lead vocals. The band’s fanzine freebie flexi-disc might have just been played by John Peel, but acrimony and ambition are about to get the better of them. Especially when record company spiv Jonny Silver wants a piece of the action.

There’s a glorious cartoon dynamism to all this that shows just how close to Greek tragedy such rock follies are. Like the punks they’re playing, however, the show’s new wave of raw talent shouldn’t care too much about any of that old-time stuff. As played out on Neil Haynes’ wilfully scuzzy set and with music by Michael John McCarthy, for all the teenage kicks, there are more serious things afoot. With help from Martin Docherty and Helen McAlpine, this is what one might expect from a group formed by performers with a shared experience of the care system.

But none of that matters here. Genna Allan, Rosie Graham, Shannon Lynch, Cameron Macleod, Andrew Marley, Kieran McKenzie, Allan Othieno and Chloe Wyper capture the heart and soul spirit of friendship, fights and fleeting moments of unity that helped define a generation’s rites of passage. Year zero starts here.

The Herald, February 14th 2020

Ends





Comments

Popular posts from this blog

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) ...

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

The Passage – Hip Rebel Degenerates: Black, White and Red All Over

Prelude – The Power of Three   Fear. Power. Love. This life-and-death (un)holy trinity was the driving force and raisons d’être of The Passage, the still largely unsung Manchester band sired in what we now call the post-punk era, and who between 1978 and 1983 released four albums and a handful of singles.    Led primarily by composer Dick Witts, The Passage bridged the divide between contemporary classical composition and electronic pop as much as between the personal and the political. In the oppositional hotbed of Margaret Thatcher’s first landslide, The Passage fused agit-prop and angst, and released a song called Troops Out as a single. The song offered unequivocal support for withdrawing British troops from Northern Ireland.    They wrote Anderton’s Hall, about Greater Manchester’s born again right wing police chief, James Anderton, and, on Dark Times, rubbed Brechtian polemic up against dancefloor hedonism. On XOYO, their most commercial and potentially mo...