Coffee-Table Notes

Norman Lear – Television producer, screenwriter Born July 27, 1922; died December 5 2023      Norman Lear, who has died aged 101, was a writer and television producer, whose sitcoms broke taboos to depict warts and all portrayals of working class lives. He did this most notably with All in the Family (1971-1979), in which blue collar New Yorker Archie Bunker offloaded his assorted prejudices onto his infinitely more enlightened family.   Based on Johnny Speight’s British sitcom, Till Death Us Do Part (1965-1975), All in the Family broke more than one mould. Thematically, its depiction of previously no-go areas for TV comedy such as racism, feminism, homosexuality, religion, and the Vietnam War was a daring intervention into the mainstream. Secondly, it was one of the first sit-coms to ditch pre-recorded laughter tracks, with the show taped in front of a live audience.    This combination saw Lear’s creation become regarded as one of the greatest American TV shows of all time. Its portr

27 Hazel Johnson Hazel Johnson spent the first outing of her tenure as incoming director of Edinburgh’s Hidden Door festival, transforming the former Scottish Widows building into an expansive hive of artistic activity. Leading a tireless team of volunteers, Johnson aims to open up even more of the city’s hitherto unexplored spaces.   29 Fred Deakin Fred Deakin’s very personal rewind on his past in Club Life, a smash hit autobiographical excavation of the uniquely styled club nights the designer and one half of Lemon Jelly ran in Edinburgh in the late 1980s and early 1990s. More big nights out may follow.   32 Joseph Malik Joseph Malik’s heroic musical renaissance has been a thing of wonder. After several years out, the Edinburgh singer/composer/producer returned to become a favourite of Craig Charles’ Funk and Soul Show. With Proxima Ebony the latest of five albums in five years, Malik has truly found his time.   35 Neil Forsyth The final part of Neil Forsyth’s TV trilogy, Guilt, put

Traverse Theatre, Edinburgh Four stars It was Liverpool’s late, great Ayrshire born manager Bill Shankly who once famously declared football to be more serious than life and death. Let’s hope Shankly is looking down on this brand new play by Robbie Gordon and Jack Nurse, developed and created with the women of Dundee Change Centre. Here, after all, is a tale of teamwork and togetherness for five women who triumph in the face of adversity both on and off the pitch in a way that is very serious indeed.   The game these women play is not some money driven sausage fest, but the Homeless World Cup, the international competition founded in 1999 for teams of homeless people, with a women’s event begun in 2008, and running annually since 2010.  Bryony Shanahan’s Traverse company production kicks off as the audience enter to a fanfare of happy hardcore bangers. With the women already warming up, they invite those in their seats to limber up alongside them on designer Alisa Kalyanova’s five-a-si

When the first Scarred for Life book appeared in 2017, Stephen Brotherstone and Dave Lawrence’s bumper compendium of 1970s pop culture’s darker side tapped into a time when teatime kids’ TV seemed steeped in folk horror and dystopian sci-fi, and public information films gave you nightmares. A second volume did something similar for the 1980s.   A new Scarred for Life podcast takes this further, with Brotherstone and Lawrence joined by presenter Andy Bush as they ask suitably culty guests to confess three things from their childhood that genuinely terrified them.   “ Scarred for Life has always been a conversation,’ says Lawrence. “The original idea for the books came from conversations that Ste and I had over many years, the conversation continued in the live show Q&As with audiences, and it just seems a natural progression to take that conversation forwards in a podcast.’   Now five episodes in, Scarred for Life has seen the likes of producer/director/writer Jamie Anderson, son of

Chris Parr – Theatre and television producer and director   Born 25 September 1943; died 24 November 2023   Chris Parr, who has died aged 80, was a producer and director, who led Edinburgh’s Traverse Theatre during a crucial time in the new writing theatre’s history, before carving out a successful career as a TV producer. With little interest in the London or international theatre scenes, Parr was, according to Joyce McMillan in her book, The Traverse Theatre Story (1988), the nearest thing the Traverse had to a working class director.   Parr’s career, McMillan said, was ‘marked by a cultural antipathy to the British establishment, and its metropolitan values’. What this meant in real terms was opening the door on an already vocal wave of Scottish writers who spoke directly in their own voice. Both Tom McGrath’s play, The Hardman (1977), written by McGrath with convicted murderer Jimmy Boyle, and The Slab Boys (1978), by John Byrne, were produced during Parr’s tenure.   Parr retained

Stills, Edinburgh Five stars   Over the last decade, Craig Atkinson’s Café Royal imprint has become one of the most vital platforms for documentary photography in the UK. Since 2012, an array of artists have utilised Café Royal’s punky A5 zine-like format across some 600 editions and rising to produce a street-smart archive of a population at work, rest and play. These have ranged from short form photo essays by well-known artists including Martin Parr and Syd Shelton, to less familiar but just as vital fly on the wall witnesses to a pre digital, pre gentrified age.   All life is here, be it on red brick streets, in back street boozers and social clubs, out of season seaside towns and 1990s raves. Middle-aged matriarchs scream in close up at 1980s wrestling.  Ballardian breezeblock monoliths reach for the sky in what we used to call concrete jungles .    This exhibition consolidates Atkinson’s tireless vision in collecting and curating the vast swathes of material on show. The front ga

Traverse Theatre, Edinburgh Five stars  Waking up in a bin at the back of Wetherspoon’s is something of an occupational hazard for the kid with the unfortunate surname played by Mark Thomas in Ed Edwards’ play. What happens to his mate who joined him on the mother of all benders, however, is even less pleasant.   Thomas’ boy, on the other hand, lives to tell the tale, as he is left with one more set of war wounds in a life already scarred by an upbringing marked by violence, loss and a messy descent into drug use. The shadow that hangs over all this is his dad, himself a casualty of war as cannon fodder caught in the crossfire of colonial genocide in Malaya.    Drawing from real life experience, Edwards’ monologue is brought to full brutal life in Cressida Brown’s production. Thomas’ confessionals are pulsed along by MJ McCarthy’s low-key but insistent sound design, and wrapped in occasional swathes of Richard Williamson’s blood red lighting.    Seen earlier this year on the Edinburgh