Wednesday, 12 November 2014

Media Lens: 'Russell Brand's Revolution'

11 November 2014

Russell Brand's 'Revolution' - Part 1, 'The Fun Bus'

On October 23, 2013, Russell Brand appeared to crash through the filter system protecting the public from dissident opinion. 
His 10-minute interview with Jeremy Paxman on the BBC's Newsnight programme not only attracted millions of viewers - the YouTube hit-counter stands at 10.6 million - it won considerable praise and support from corporate journalists on Twitter. Brand was arguing for 'revolution' and yet was flavour of the month, cool to like. Something didn't add up. 
The hook for the interview was Brand's guest-editing of New Statesman magazine, promoted by him in a video that featured editor Jason Cowley giggling excitedly in the background among besuited corporate journalists. Again, this seemed curious: why would a drab, 'left of centre' (i.e., corporate party political) magazine support someone calling for a 'Revolution of consciousness'
The answer is perhaps easier to fathom now than it was then, for time has not been kind either to the Newsnight interview or the New Statesman guest issue. 
It is clear that an unprepared Brand was largely winging it with Paxman. In response to the predictable question of what political alternative he was proposing, Brand replied:  'Well, I've not invented it yet, Jeremy. I had to do a magazine last week. I had a lot on my plate. But here's the thing it shouldn't do. Shouldn't destroy the planet. Shouldn't create massive economic disparity.
Shouldn't ignore the needs of the people. The burden of proof is on the people with the power, not people doing a magazine.' 
In his new book, 'Revolution,' Brand recognises that the first part of this response 'ain't gonna butter no spuds on Newsnight or Fox News' (Brand, 'Revolution', Century, 2014, ebook, p.415) and he is clearly keen to move on from 'the policy-bare days of the Paxman interview' (p.417). On the other hand, the second part of Brand's answer helps explain the huge impact of the interview – he was speaking out with a level of passionate sincerity and conviction that are just not seen in today's manufactured, conformist, marketing-led media. Brand looked real, human. He was telling the truth! 
Similarly, the New Statesman guest edition was a curious hodgepodge, with good articles by Brand, Naomi Klein and Noam Chomsky alongside offerings from BBC sports presenter Gary Lineker, rock squib Noel Gallagher, actors Alec Baldwin and Rupert Everett, multi-millionaire entrepreneur Martha Lane-Fox, and even Russian media oligarch, Evgeny Lebedev. This was revolution as some kind of unscripted celebrity panto mime. 
Brand's Newsnight performance, then, was an inspiring cri de coeur. But a 10-minute, impassioned, ill-formed demand for 'Change!' from a lone comedian is not a problem for the media's gatekeepers. It makes for great television, enhances the illusion that the media is open and inclusive, and can be quickly forgotten – no harm done. 
Killing Corporate Power – Humanity's Stark Choice
Brand's new book, 'Revolution,' is different – the focus is clear, specific and fiercely anti-corporate. As we will see in Part 2 of this alert, the media reaction is also different. 
Brand begins by describing the grotesque levels of modern inequality: 
'Oxfam say a bus with the eighty-five richest people in the world on it would contain more wealth than the collective assets of half the earth's population – that's three-and-a-half billion people.' (p.34) 
And: 
'The richest 1 per cent of British people have as much as the poorest 55 per cent.' (p.34) 
But even these facts do not begin to describe the full scale of the current crisis: 
'The same interests that benefit from this... need, in order to maintain it, to deplete the earth's resources so rapidly, violently and irresponsibly that our planet's ability to support human life is being threatened.' (p.36) 
For example: 
'Global warming is totally real, it has been empirically proven, and the only people who tell you it's not real are, yes, people who make money from creating the conditions that cause it. (pp.539-540)
We are therefore at a crossroads: 
'Today humanity faces a stark choice: save the planet and ditch capitalism, or save capitalism and ditch the planet.' 
'The reason the occupants of the [elite] fun bus are so draconian in their defence of the economy is that they have decided to ditch the planet.' (p.345)
And so 'we require radical action fast, and that radical action will not come from the very interests that created and benefit from things being the way they are. The one place we cannot look for change is to the occupants of the bejewelled bus.' (p.42) 
The problem, then, is that 'we live under a tyranny'. (p.550) The US, in particular, 'acts like an army that enforces the business interests of the corporations it is allied to'. (p.493) 
But this is more than just a crude, Big Brother totalitarian state: 
'A small minority cannot control an uncooperative majority, so they must be distracted, divided, tyrannised or anaesthetised into compliance...' which means 'the colonisation of consciousness by corporations'. (p.165) 
Brand notes that 70 per cent of the UK press is controlled by three companies, 90 per cent of the US press by six: 
'The people that own the means for conveying information, who decide what knowledge enters our minds, are on the fun bus.' (p.592) 
He even manages a swipe at the 'quality' liberal press: 
'Remember, the people who tell you this can't work, in government, on Fox News or MSNBC, or in op-eds in the Guardian or the Spectator, or wherever, are people with a vested interest in things staying the same.' (p.514) 
Thus, the 'political process' is a nonsense: 'voting is pointless, democracy a façade' (p.45): 'a bloke with a nice smile and an angle is swept into power after a more obviously despicable regime and then behaves more or less exactly like his predecessors'. (p.431) 
The highly debatable merit of voting aside, anyone with an ounce of awareness will accept pretty much everything Brand has to say above. Put simply, he's right – this is the current state of people, planet and politics. A catastrophic environmental collapse is very rapidly approaching with nothing substantive being done to make it better and everything being done to make it worse. 
Even if we disagree with everything else he has to say, every sane person has an interest in supporting Brand's call to action to stop this corporate genocide and biocide. A thought we might bear in mind when we subsequently turn to the corporate media reaction. 

'Wow, I'd Like To Be Him'

Even more astutely – and this is where he leaves most head-trapped leftists behind – Brand understands that progressive change is stifled by the shiny, silvery lures of corporate consumerism that hook into our desires and egos. He understands that focused awareness on the truth of our own personal experience is a key aspect of liberation from these iChains: 
'Get money. I got money, I got the stuff on the other side of the glass and it didn't work.' (p.56) 
And: 
'I have seen what fame and fortune have to offer and I know it's not the answer. That doesn't diminish these arguments, it enhances them.' (p.202) 
And: 
'We have been told that freedom is the ability to pursue petty, trivial desires when true freedom is freedom from these petty, trivial desires.' (p.66) 
In a wonderfully candid passage – unthinkable from most leftists, who write as though they were brains in jars rather than flesh-and-blood sexual beings – Brand describes seeing a paparazzi photo of himself emerging from an exclusive London nightclub at 2 a.m with a beautiful woman on each arm:  'I can still be deceived into thinking, 'Wow, I'd like to be him,' then I remember that I was him.' (p.314) 
Brand tells his millions of admirers and wannabe, girl-guzzling emulators: 
'That night with those two immaculate girls... did not feel like it looked.' (p.315) 
So how did it feel? 
'Kisses are exchanged and lips get derivatively bitten, and I am unsmitten and unforgiven, and when they leave I sit broken and longing on the chaise.' (p.316) 
The point, again: 
'This looks how it's supposed to look but it doesn't feel how it's supposed to feel.' (p.186) 
Exactly reversing the usual role of the 'celebrity' ('how I loathe the word' (p.191)) - Brand sets a demolition charge under one of the great delusions of our time: 'Fame after a while seems ordinary.' (p.189) 
Everything, after a while, seems ordinary – external, material pleasures do not deliver on their promises. 
So why are we destroying humanity and the planet for a vampiric corporate dream that enriches a tiny elite and brings alienation and dissatisfaction to all? The answer? Thought control: 
'We are living in a zoo, or more accurately a farm, our collective consciousness, our individual consciousness, has been hijacked by a power structure that needs us to remain atomised and disconnected.' (p.66) 
And:
'Incrementally indoctrinated, we have forgotten how to dream, we have forgotten who we are. We have abandoned our connection to wonder and placed our destiny in unclean hands.' (p.600)
Again leaving most 'mainstream' and leftist thought far behind, Brand urges us to liberate ourselves from the marketised dreams of future happiness 'out there' – the fame, the indulgence, the wealth – to focus on a bliss that is available here, now, inside ourselves. What is he talking about? Is this just 'mumbo-jumbo', as critics claim? Far from it, this is a truth that is subtle, elusive, but real:  'You never know when you will encounter magic. Some solitary moment in a park can suddenly burst open with a spray of pre-school children in high-vis vests, hand in hand; maybe the teacher will ask you for directions and the children will look at you curious and open, and you'll see that they are perfect.' (p.105)
Bliss is there in that tiny, fleeting instant when the mind, for once – for a moment! – stops its ceaseless chatter to make space for 'another awareness. A distinct awareness. An awareness beyond, behind and around these thoughts'. (p.82)
This is brave and truthful; in fact, it is the central message of all the world's spiritual traditions freed from their political, theistic and superstitious baggage. 
Yes, the hard-headed Chomskys and Pilgers are of course right, the world is shackled by economic and political chains. But these hook into our most personal dreams and desires. Activism often does, and perhaps more often should, arise from the ultimate inactivism of sitting silently, doing nothing, thinking nothing, realising deeply that the bliss we seek 'out there' is an imposed illusion that obstructs an authentic bliss only available, in fact, 'in here'. 
This is the crucial, perennially-ignored link between spirituality and politics, between meditation and the ability to relinquish our dependence on corporate trinkets and 'service', and it has been made by far too few people in the history of Western thought. 

If all of this wasn't enough to earn Brand support and applause, he even challenges the taboo that associates seriousness with virtue: 'people mistake solemnity for seriousness, [assuming] that by being all stern and joyless their ideas are somehow levitated'. (p.399)
And indeed leftist writers are almost universally angry, solemn and stern – seriousness is worn like a badge of sincerity by people who are supposed to abhor conformity and uniformity. Brand has the self-belief to joke and jape with childish abandon when discussing even the most serious subjects. Again, he is asserting the right to be whoever he chooses to be - an authentic, juicy human being, rather than a hard-boiled 'intellectual'. 
In the effort to escape from illusions, both political and personal, Brand throws all kinds of ideas for action at his readers. He argues for the rewriting of trade agreements to support the needs of people and planet through localised farming. He wants to cancel personal debt, for communities to use modern high tech communications to take control of politics. He wants to 'kill' particular corporations like General Motors, 'sell them off and use the money to compensate victims and former workers, or we could collectivise it and run it as a worker-based cooperative'. (p.409) He wants genuinely participatory democracy along the lines of Porto Alegre in Brazil. Energy companies need to be stopped from wrecking the climate through oil refining and fracking, and so on.
All of this is courageous for another reason. Brand writes:  'I know too with each word I type that I am building a bridge of words that leads me back to the poverty I've come from, that by decrying this inequality, I will have to relinquish the benefits that this system has given me. I'd be lying if I said that didn't frighten me.' (p.62)
If by this he means that, in writing of the need for revolution, he will lose the support of the corporate media that lifted him to a place of prominence, he certainly has a point, as we will see.

Part 2 will follow shortly...

Tuesday, 11 November 2014

Royal Exchange: Little Shop of Horrows


LITTLE SHOP OF HORRORS
Book and lyrics by Howard Ashman
Music by Alan Menken
Based on the film by Roger Corman with a screenplay by Charles Griffith 
Directed by Derek Bond
Designed by James Perkins 
Royal Exchange Theatre
St Ann’s Square, Manchester
Friday 5 December 2014 – Saturday 31 January 2015   

An extra two weeks of performances have been confirmed for the Royal Exchange Theatre’s Christmas production of hit musical comedy LITTLE SHOP OF HORRORS. 

Huge demand for tickets at the box office now means the production will run from Friday 5 December 2014 to Saturday 31 January 2015. 

This follows the recent record breaking success of HAMLET – the company’s fastest selling show in a decade – which saw an extra week of shows added to its run.  

Fuelled by Faust and fertiliser, LITTLE SHOP OF HORRORS is a charming, kooky and hilarious 1950s musical sci-fi spoof. With a book and lyrics by Howard Ashman, music by Alan Menken and based on the film by Roger Corman with a screenplay by Charles Griffith, it is one of the longest running off-Broadway shows of all time. 

The action centres on down and out florist’s assistant Seymour who becomes an overnight sensation when he discovers an exotic plant with a macabre craving. He is secretly in love with his colleague, Audrey and names the plant Audrey Two in her honour.

Audrey Two has plans that are far greater than Seymour can imagine as it grows into a bad-tempered, foul-mouthed carnivore who offers fame and fortune in exchange for feeding its growing appetite.  

The production is directed by rising star Derek Bond, whose recent credits include MICROCOSM (Soho Theatre 2014), LOST IN YONKERS (Watford Palace Theatre, 2012) and the award winning FLOYD COLLINS (Southwark Playhouse, 2012 - Time Out Critics’ Choice and Best Musical Production at the Off West End Awards in 2013).   

He said:
'Our Little Shop of Horrors will be a gory, scary, glitter and sequins treat for all the family. The Royal Exchange’s in the round theatre will be sure to provide a brilliant arena for a musical spectacular this Christmas.' 

The cast includes Kelly Price, as Audrey, whose previous Royal Exchange credits include THAT DAY WE SANG (for which she was nominated for a MTA Award) and whose other recent theatre credits include ONE MAN TWO GUVNORS (National Theatre, Theatre Royal Haymarket); COMPANY (Sheffield Crucible) and STEPPING OUT (Sailsbury Playhouse) and PERCHANCE TO DREAM (Finborough Theatre); and Gunnar Cauthery, as Seymour, who makes his first Royal Exchange appearance in this production and whose other recent theatre work includes WONDERLAND, THE EMPTY QUARTER (Hampstead Theatre); PRIVACY (Donmar Warehouse) and THIS HOUSE, THE WHITE GUARD (National Theatre). 

The cast also includes James Charlton, Ibinabo Jack, CJ Johnson, Ako Michell, Joelle Moses, Sévan Stephan, Nuno Silva and Ellena Vincent.   

The production is designed by James Perkins and the creative team is completed by Richard Howell (lighting design), Richard Brooker (sound design), Toby Olie (puppetry design and direction) and Tim Jackson (musical direction and choreography).   

LITTLE SHOP OF HORRORS was originally produced by the WPA Theatre (Kyle Renick, Producing Director); originally produced at the Orpheum Theatre, New York City by the WPA Theatre, David Geffen, Cameron Mackintosh and the Shubert Organization and presented by arrangement with JOSEF WEINBERGER LMITED on behalf of MUSIC THEATRE INTERNATIONAL of New York. 

PRESS NIGHT for LITTLE SHOP OF HORRORS is on Tuesday 9 December. For further information, images, or for interview / press review ticket requests, please contact JOHN GOODFELLOW (Press & Communications Manager) on 0161 615 6783 / john.goodfellow@royalexchange.co.uk   

Production photos will be available to download from Monday 8 December at www.royalexchange.co.uk/press 

Further information also available online at www.royalexchange.co.uk/littleshop   

LITTLE SHOP OF HORRORS - Listings Information 

The Royal Exchange Theatre presents

LITTLE SHOP OF HORRORS

Book and lyrics by Howard Ashman

Music by Alan Menken

Based on the film by Roger Corman with a screenplay by Charles Griffith

Directed by Derek Bond

Designed by James Perkins

The Royal Exchange Theatre, Manchester

Friday 5 December – Saturday 31 January

Evening Performance Times:

Monday – Friday, 7.30pm; Saturday, 8pm (Friday 26 December, 8pm)

Matinee Performance Times:

Wednesdays, 2.30pm; Saturday 3.30pm (no matinee Saturday 6 December)

Extra matinees: Tuesday 23 December, 2.30pm, Friday 26 December, 3.30pm

Half Price Preview: Friday 5 December

Press Night: Tuesday 9 December, 7.30pm

Ticket Prices: Standard tickets from £15 (Concessions Available), Banquette tickets £10, Half price previews from £7.50

Audio-described Performance: Saturday 10 January, 3.30pm

BSL Interpreted Performance: Tuesday 13 January, 7.30pm

Captioned Performance: Tuesday 6 January, 7.30pm

After-show Discussion: Thursday 8 January (after 7.30pm performance)

Backstage Tour: Wednesday 10 December, 11am

Box Office: 0161 833 9833.

Monday, 10 November 2014

'Scuttler's play at the Royal Exchange

The book about the Manchester Scuttlers
entitled 'The Gangs of Manchester' by
Andrew Davis, was reviewed extensively in
Northern Voices 10 by Derek Pattison.

THROUGHOUT the 1870s and beyond the streets of Openshaw, Gorton, Ancoats and Salford were terrorised by rival groups of young mill workers fighting for control.  With their belt-bottoms and floppy caps they fought with blades, fists, feet and the heavy ends of their leather belts.

Rona Munro’s tough and tender story begins one hot evening in August; the mills are constantly at work and the neighbourhood gangs are circling each other, vying for territory. Tension builds and a fight erupts that changes lives forever.

This is the thrilling story of young people navigating a life without respect; parents have let them down, homelessness is inevitable, and a sense of place and purpose can only be found on the streets. Based on real court reports, it’s timeless and timely with themes that resonate with remarkable clarity 150 years on.

Wils Wilson is an award winning Director and site-specific theatre maker. Her recent work includes Praxis Makes Perfect (National Theatre Wales); Gastronauts (Royal Court); ANON, (WNO); The Strange Undoing of Prudencia Hart (National Theatre of Scotland) which has been touring nationally and internationally since 2010.

Rona Munro has written extensively for stage, radio, film and television including the trilogy THE JAMES PLAYS for the National Theatre of Scotland, The National Theatre and the Edinburgh International Festival.

The play will be on at the Theatre from 5 February 2015 - 7 March 2015.

'I love the Royal Exchange because the relationship between the audience and the performers is so immediate. There’s a shared sense of making the theatre happen together - a kind of deal between the audience and the performers.'  Wils Wilson, Director

MP Accuses Police of Blacklist Involvement




Dear Home Secretary,
Re: Police Involvement in Blacklisting
When the Prime Minister announced the setting up of the Leveson I asked him to set up an inquiry into the blacklisting of workers that had been exposed by the raids on the offices of the Consulting association by the Information Commissioner. I was particularly concerned at the allegation that the Police and Intelligence Services had been implicated in the practice of blacklisting trade unionists. See my intervention as recorded in Hansard on the 21st March 2012, ‘The Information Commissioner has confirmed that some of the information used by the Consulting Association to blacklist trade unionists could only have come from the police or the Security Service. When 3,000 people, mostly celebrities, had their telephones hacked, the Government set up an inquiry under Leveson. When 3,200 trade unionists have been blacklisted, and many have lost their livelihoods, the Home Secretary simply suggests that they go to the Independent Police Complaints Commission. Why is there one route to justice for celebrities, and another for working people?’.
At that stage the Prime Minister was not willing to establish an inquiry into blacklisting but assured me that any evidence of this practice would be investigated.
I am writing to you to bring to your attention a serious piece of evidence that has emerged confirming Police involvement in the role of the blacklisting organisation, the Consulting Association.
It is a handwritten note taken by the late Mr Ian Kerr, chief executive of the Consulting Association, of a meeting organised by the Consulting Association and addressed by Detective Chief Inspector Gordon Mills from the National Extremism Tactical Co-ordination Unit (NECTU)
The note describes the Powerpoint presentation given by the police officer to representatives from the following companies: Vinci, AMEC, Skanska, Costain, Sir Robert McAlpine, Emcor, and Sias Building Services.
Given this record of attendance at this meeting, it is shocking that in their evidence to the Scottish Select Committee’s inquiry into blacklisting directors of Skanska and Sir Robert McAlpine denied any involvement of the police.
DCI Mills was head of Police Liaison at NECTU and it is alleged that his role was to provide information from the Police to companies.
NECTU was subsequently subsumed into the National Domestic Extremism Unit of the Metropolitan Police but despite numerous requests under the Freedom of Information Act for documents relating to NECTU’s activities, the response has been that no documents relating to the meeting of DCI Mills with the Consulting Association exist. It appears odd that no report of such an important meeting was written and that no evidence of the meeting is now held by the Metropolitan Police.
In the light of this recent evidence implicating the Police in the blacklisting of trade unionists and others, I am writing to you to request you to intervene to ensure not only that all the documentation relating to NECTU’s relationship with the Consulting Association is put in the public domain but also that an independent inquiry is now undertaken into the role of the Police and Intelligence Services in blacklisting in this country over the last 40 years.
I would welcome a prompt reply.
Yours,
John McDonnell MP

Friday, 7 November 2014

GMB Crocodile Protest in Manchester

YESTERDAY the GMB union held a demo outside G-Mex in Manchester at the conference of the Chartered Institute of Personnel & Development.  The protest was against the Institute's lack of action in relation to those of its members who have been named in Parliament for their part in blacklisting 3,213 building site workers.

In 2013 the Chartered Institute admitted to Parliament that they were investigating some 19 of its members as being linked to blacklisting.  In Autumn if this year academic members of the Institute asked that action be taken against those proven to have participated in blackilisting and named in Parliament.  Only last week the Institute responded by saying that no action would be taken until after the High Court proceedings for damages were finished.

Yesterday the GMB issued a leaflet saying:
'That is why we are here today with the crocodile suit.  Chartered Institute of Personnel & Development members that organized the blacklist might have thought they had got away with it scot-free, so shedding crocodile tears won't wash and neither will the Nuremberg Defence of "just following superior orders".'

The leaflet continued:
'On October 16th there was hearing in the High Court on compensation for 122 GMB members blacklisted by Carillion and other construction employers.  The next hearing is 17th, December.'

The leaflet concluded:
'The Chartered Institute of Personnel & Development wants to be taken seriously as the voice of Human Resources professionals but has been cowardly and ineffective in its efforts to remove the rot from its own ranks.  After five years of inaction the Chartered Institute now appears to be little more than a self-serving organisation happy to take its members affiliations without question about who they are are and what they have done.'

About 50 or more people turned out for the Manchester protest outside G-Mex, and several electricians were interviewed for the GMB website, including some activists from the EPIU union like Colin Trousdale.

Blacklist Support Group update:

1. Crocodile Tears at CIPD conference
The GMB Crocodile Tears tour targeting the actual senior managers who were personally responsible for blacklisting continued this week:
Attached pix from the protest against Sheila Knight (EMCOR) in Reading and at the national conference of the CIPD (professional body for HR) in Manchester. Colin Trousdale, George Tapp and Art Against Blacklisting along with many others were representing.
Monday 10th November
West Midlands Blacklist Protest against Sandy Palmer, ex-NCS / Carillion manager directly linked to the blacklisting of 36 workers. Sandy Palmer is now a member of Ellesmere Rural Parish Council which meets in Ellesmere Town Hall at 7pm
DEMO: 6.15pm Monday, 10 November 2014
Town Hall, 1-3 Willow Street, Ellesmere, Shropshire, SY12 0AL.
5pm Meeting Point for pre-demo leafleting
Red Lion, Church Street, Ellesmere, SY12 0HD


11am Tuesday 11th November
Arnold Nestler, AMEC HR Director,
AMEC: Booths Park, Chelford Road, Knutsford, Cheshire, WA16 8QZ.

2. Police involvement in blacklisting:
"The force can neither confirm nor deny it holds any information in relation to the activities of the Blacklist Support Group. To do so would undermine any current investigation by alerting those who maybe suspected of criminal activity, but it may also thwart any such investigation which is being managed as a covert operation. This in itself would disclose tactical options, undermining future operations, but also in this case potentially disclose personal data of individuals."
Quote from Essex Police in response to FOI request by investigative journalist
Phil Chamberlain. 

Wed 12th Nov 6-8pm
Undercover police spies and blacklisting - public meeting:
London Metropolitan University, Henry Thomas Lecture Theatre, 166-220 Holloway Road, N7 8DB
Speakers: Helen Steel, Merrick Badger, Dave Smith all 3 spied on by undercover police - all 3 on the construction industry blacklist
Sat 15th Nov 11am start
Defend the Right to Protest Conference
Session on: Undercover cops and the secret state
speakers: Helen Steel, Rob Evans (Guardian), Jenny Jones (GLA), Merrick Badger & Dave Smith
SOAS, Thornhaugh Street, WC1H 0XG London
3. Blacklist Support Group on tour:
Thurs 13th Nov 7:30pm
Reel News night in London:
new videos on Blacklisting plus
Veterans for Peace in Northern Ireland
Ryans Bar
181 Stoke Newington Church Street
London N16 0UI
Sat 15th Nov 1-4pm
Construction Rank & File national meeting
BSG speakers include: Frank Morris, Steve Kelly, Steve Acheson
Newcastle Labour Club, Newcastle Upon Tyne, NE14
(all construction workers welcome)
4. Atlanco Rimec
Atlanco Rimec is an employment agency accused of current anti-union blacklisting across Europe in the building industry and NHS.
This is an update on the story from RT (section starts at 13:30) http://www.rte.ie/player/gb/show/10341885/ 
5. Solidarity:
UCATT crane drivers strike at HTC took place Friday 7th November
Pix attached
Defend Petrit Mihaj
RMT rep was sacked by Sodexo who have refused to reinstate him despite him winning his Employment Tribunal.
11am Friday 14th Nov
Sodexo HQ
1 Southampton Way opposite Holborn Tube
6. Holiday Pay victory
Well done to Unite for their ground breaking holiday pay legal victory against the blacklisting firm AMEC

After Hamlet at the Royal Exchange Manchester?

RIDING high on the record breaking success of Maxine Peak's HAMLET – the company’s fastest selling show in a decade - and a big jump in the total number of people seeing its shows, audiences remain at the heart of the newly-announced Spring Summer 2015 Season at Manchester’s Royal Exchange Theatre.   

Audience numbers are up year on year by more than 46,000, with people experiencing Royal Exchange produced work across the UK as well as in Manchester, at festivals and other venues including Latitude, the Edinburgh Fringe, Shakespeare’s Globe, Theatertreffen in Berlin and community venues in the North West.   

YOU, THE AUDIENCE - the Exchange’s year-long audience collaborative adventure which began this season - weaves through the programme for Spring Summer 2015. An epic conversation and a celebration of audiences, it explores the special relationship between the work that is made and the people it is made for.  

The company is currently gathering a remarkable collection of opinions and ideas from some of the 2,000 people who helped to kick-start the project at the recent Fun Palace Open Day. The Spring Summer Season’s events will include a weekend of outdoor theatre and A NIGHT AT THE THEATRE, a giant sleepover in the module and the Great Hall.  

Launching in Spring 2015, OPEN EXCHANGE will offer a series of attachments, master-classes and other development opportunities as part of the Exchange’s commitment to the next generation of artists and theatre makers.

Artists will have the chance to explore, play and collaborate with mentoring and support from professional teams and access to new rehearsal spaces.    

The new season is the second under the leadership of Sarah Frankcom as the theatre’s sole Artistic Director and is a mix of classics reinvented by the next generation of theatre-makers and world premieres for emerging voices.

She said: “I am really excited about the wide range of new work, artists, collaborations and conversations we will share with audiences in 2015  as we reinvent what our theatre is, and what it might be.”  

The season includes a co-production of a classic adaptation directed by rising star Ellen McDougall; a much loved play re-worked by returning favourites Told by an Idiot; first outings for two Bruntwood Prize winners, a collaboration with the Manchester International Festival 2015 and a Royal Exchange Young Company collaboration with poet and novelist, Jackie Kay.   

The season launches with Olivier-nominated Ellen McDougall directing Jo Clifford’s stripped-back, contemporary adaptation of Leo Tolstoy’s classic novel ANNA KARENINA – a Royal Exchange Theatre and West Yorkshire Playhouse co-production.   

This is the Exchange’s second collaboration with WYP following the huge success of SWEENEY TODD in Autumn 2013. ANNA KARENINA runs in The Theatre from Thursday 19 March to Saturday 2 May 2015 and transfers to Leeds on Wednesday 13 May.   

Anna is the envy of St. Petersburg society. Glamorous and admired, but locked in a loveless marriage, her sudden and passionate love affair with Count Vronsky turns her world on its head and puts at risk everything she has ever known.   

Olivier-nominated director Ellen McDougall makes her Royal Exchange debut with this stripped-back and contemporary version of one of the greatest novels ever written.   

She received an Olivier nomination for her 2010 production of IVAN AND THE DOGS (ATC, Soho, UK tour and Rustaveli Theatre, Georgia). Other recent credits include TELLING TALES (Almeida); PHILOCTETES (Unicorn) SHOWS 1 and 2 (Secret Theatre) for Lyric Theatre Hammersmith; SPRING AWAKENING and IDOMENEUS (Gate Theatre) and NOT NOW BERNARD (Unicorn Theatre and touring).   

Playing alongside ANNA KARENINA, 2013 Bruntwood Prize for Playwriting winner THE ROLLING STONE by Chris Urch receives its world premiere in The Theatre from Tuesday 21 April to Friday 1 May 2015.   

Also directed by Ellen McDougall – and with the same company of actors - it tells a very different story of lovers at odds with society.

Dembe and Sam have been seeing each other for a while. They should be wondering where this is going and when to introduce each other to their families. But they’re gay and this is Uganda and the consequences of being discovered will be violent and explosive.   

The season continues with a blisteringly funny reboot for Arnold Ridley’s THE GHOST TRAIN which runs in The Theatre from Thursday 14 May to Saturday 20 June 2015.   

The production is presented in association with the internationally acclaimed theatre company Told by an Idiot (previous Royal Exchange credits include YOU CAN’T TAKE IT WITH YOU and TOO CLEVER BY HALF) who bring their trademark wit, flare and theatrical invention to this classic ghost story.   

The production is presented in association with the internationally acclaimed theatre company Told by an Idiot (previous Royal Exchange credits include YOU CAN’T TAKE IT WITH YOU and TOO CLEVER BY HALF) who bring their trademark wit, flare and theatrical invention to this the classic ghost story.    

A group of passengers are left stranded at a remote railway station, facing the prospect of a night in the waiting room. But when the old stationmaster warns them about the phantom train that haunts the tracks after dark, the evening starts to take one chilling turn after another.   

Told by an Idiot Artistic Director Paul Hunter, who directs the production, said: "THE GHOST TRAIN is not normally the kind of play that would be produced in the round. The challenge of staging action that would normally happen off stage and of using every inch of that extraordinary space will be really thrilling."   

2013 Bruntwood Prize Winner YEN by Anna Jordan – which plays in The Studio from Wednesday 18 February to Saturday 7 March – explores a childhood lived without boundaries and the consequences of being forced to grow up on your own.   

It tells the story of sixteen-year-old Hench and thirteen-year-old Bobbie who live alone with their dog Taliban, playing Playstation, watching porn; surviving. Occasionally their chaotic mum Maggie visits, sometimes she passes out on the front lawn. But when Jenny knocks on the door, the boys discover a world far beyond what they know, a world full of love, possibility and danger.   

Anna Jordan’s play was commended for its ‘beautiful empathy, and a humanity which stood out to all the judges’ by Chair of the Judges, Dame Jenni Murray.  

The production is directed by Ned Bennett. Previously a resident trainee director at the Royal Court, his recent credits include SUPERIOR DONUTS (Southwark Playhouse), MERCURY FUR (Old Red Lion) and PIGEONS (Royal Court schools tour).   

The new season will also see the Royal Exchange Theatre and Manchester International Festival collaborate on a new piece of theatre for MIF15. It will be staged in The Theatre from Friday 3 July to Saturday 1 August 2015. It follows on from the acclaimed MIF / RET co-production of THE MASQUE OF ANARCHY - a highlight of MIF13. Further details will be announced in the New Year.   

A full Spring Summer programme in The Studio is also yet to be announced but a major highlight will be BRINK - a Royal Exchange Young Company collaboration with poet and novelist, Jackie Kay.  

Presented by the Young Company and directed by the Royal Exchange’s Associate Artistic Director Matthew Xia, the show will run in The Studio from Thursday 26 March to Saturday 28 March 2015 and asks lots of question such as “What brings you to the brink in your life?” and “When you are so close to the edge - do you take the plunge or retreat?”   

Public Booking for the new season opens on Monday 24 November 2014.   

For further information, please contact JOHN GOODFELLOW (Press & Communications Manager) on 0161 615 6783 / john.goodfellow@royalexchange.co.uk.
 
ROYAL EXCHANGE THEATRE SPRING SUMMER 2015 SEASON   

The Royal Exchange Theatre presents: 
YEN

By Anna Jordan

World Premiere

Directed by Ned Bennett

The Studio

Wednesday 18 February to Saturday 7 March 2015

PRESS NIGHT: THURSDAY 19 FEBRUARY at 7.30pm   

The Royal Exchange Theatre and West Yorkshire Playhouse present

ANNA KARENINA

By Leo Tolstoy

Adapted by Jo Clifford

Directed by Ellen McDougall

The Theatre

Thursday 19 March – Saturday 2 May 2015

PRESS NIGHT: TUESDAY 24 MARCH at 7.30pm 

Royal Exchange Theatre presents

THE ROLLING STONE

By Chris Urch

World Premiere

Directed by Ellen McDougall

The Theatre

Tuesday 21 April to Friday 1 May 2015

PRESS NIGHT: WEDNESDAY 22 APRIL at 7.30pm  
 

Told by an Idiot and the Royal Exchange Theatre present

THE GHOST TRAIN

By Arnold Ridley

Directed by Paul Hunter

The Theatre

Thursday 14 May – Saturday 20 June 2015

PRESS NIGHT: TUESDAY 19 MAY at 7.30pm

Royal Exchange Theatre / 2015 Manchester International Festival Collaboration

Details to be announced

The Theatre

Friday 3 July to Saturday 1 August 2015

PRESS NIGHT: TBC

'United We Stand' - November Program:

UNITED WE STAND

A new play by Neil Gore

IN 1972 tens of thousands of building workers won the first national strike in the industry for better pay and conditions. 'Flying pickets left the contractors reeling. The Tory government and the large building companies wanted revenge, and the 'Shrewsbury 24' were put on trial in the following year.

Townsend Productions' new play, UNITED WE STAND, follows in the traditional of their highly successful productions The Ragged Trousered Philanthropists and We Will Be Free!-the Tolpuddle Martyrs Story, and focuses on the true and still very current events that led to the imprisonment of building workers Des Warren and Eric Tomlinson (Ricky Tomlinson of 'The Royle Family').
It will reflect the great tide of anger, which rocked the very foundations of the established political elite, examine the extraordinary political will of all the participants and share the anguish of falling prey to a flagrant miscarriage of justice.

Combining Townsend Productions' trademark small-cast, grand theatrical style and wit with popular and political songs of the early seventies (directed by John Kirkpatrick) and Ricky Tomlinson's poems from his time in prison, this production aims to bring the full story of this compelling dispute to life, and will guarantee a powerfully challenging and entertaining evening for all its audiences.

November

  • 03 -04 Harrogate Theatre, HG1 1QF
  • 05 - 7Palace Theatre, Southend, SS0 9LA
  • 08 Arden Theatre, Faversham, ME13 7LE
  • 10 The Wedgewood Roms, Southsea
  • 11 Theatr Harlech, Gwynedd, LL46 2PU
  • 12 Theatr Colwyn, LL29 7RU
  • 13 The Little Theatre,Rhyl, LL18 2BS
  • 14 Marsden Mechanics HD7 6BW Kirklees
  • 17 Black wood Minors Institute, High Street, Blackwood, Gwent, NP12 1BB
  • 18 Pwllheli Theatre- Penlan Street, Pwllheli, LL53 5DE
  • 19/- 22 The Lantern Theatre, Sheffield,S7 1NF Sheffield
  • 26 The Bussey Building Peckham, SE15 4ST Southwark

This is a play which may have some significance to the ongoing campaign against the blacklist in the British building trade, and the process of legal action against certain major construction companies by victims of the blacklist.

Thursday, 6 November 2014

Difficulties in getting 'Boys on the Blacklist'?

A reader recently wrote: 
'I would really like to purchase a copy of this but I don't have a chequebook.  Is there another way that I could pay for a copy?'


She was asking about buying a copy of 'Boys on the Blacklist' published by Tameside TUC and partly funded by the North West TUC as part of its grants to Trade Union Councils.  Understandably, the TUC has issued a disclaimer until it has had time to peruse and scrutinise its contents to see if its contents and conclusions meet with the policies of the TUC. At present the person charged with this is at present out of the country, and we will await her decision with interest.  Meanwhile the regional secretary of Unite the Union in the North West has placed the book on the agenda of the Finance & General Purposes Committee for its consideration.


This book has been available for almost three weeks and the first print order has now almost sold out.  We hope to reprint the book in the coming weeks.  It is selling remarkably well among trade unionists across the country, and was available on the Unite Manchester train to London for the TUC March on the 18th, October.  On that occasion Steve Acheson, who has led the campaign against the blacklist in the Manchester for over a decade, was signing copies of the book.


At the moment because casual sales are doing so well we have resisted placing copies in bookshops in the North.  Copies were being sold on the Crocodile Protest by the GMB union at G-Mex today.  However, a few outlets have taken a few copies including Housemans, Freedom Bookshop in London, Hydra the Bristol Radical History community bookshop, and Bob Jones's Northern Herald Books in Bradford.  Housemans Bookshop was mentioned by Ian Kerr before the Scottish Affairs Select Committee as the outlet in London at which he used to buy left-wing publications for his purposes of collecting intelligence and information to fill his blacklist files at the now defunct Consulting Association, which was closed down by the Information Commissioner in February 2009.