'The history of England jumps off its axis. 2am, 8th July, 1981, 20 cities across England burn.' The night of the Manchester uprising. That night should change everything. Drawing on his own personal experience, Ed Edwards’ script crackles with anger, humour and authenticity as he chronicles the fallout for communities crushed by the heroin epidemic at the height of Thatcherism. Shot through with home truths about the road to recovery this is an epic love song to a lost generation.
What was the inspiration for this performance?
When I was doing three-and-a-half
years in jail for drugs offences in the early 1990s, one of the scouse lads on
the landing one night made a speech about the 1981 Toxteth riots that went
something like this - "We’d taken Liverpool that night, the youth, it
belonged to the youth that night, the city did, the cops had to fight their way
back into Liverpool. Two years later I’m jumping over the counter of the local
offie with an uzi trying to feed a habit.”
I’d always known that you couldn’t
buy heroin on the streets of working class districts before the riot and these
words stuck in my mind, gradually morphing with my experiences of recovery from
addiction, to become this play.
Is performance still a good space for the public discussion
of ideas?
There are obvious class barriers to
proper public debate, in that theatre (especially non-musical theatre) tends to
be the preserve of the middle and upper classes in Britain these days. However with the budgets required for film, TV and theatre - and the unofficial but
effective ban on political drama on Radio 4 enforced by the commissioner for the
past several years Jeremy Howe - theatre is still probably the best forum for
debate. You only have to look at the work of people like Chris Thorpe to see
how effective/inspiring political/discursive theatre can be.
How did you become interested in making performance?
Before drugs f**ked me up I’d always
been interested in theatre since I stumbled into the Arts Theatre in Birmingham
and saw a play by some obscure theatre company that I didn’t understand - but it
blew my socks off anyhow! I thought ‘I could do something like that’ and
decided there and then to become a writer. Even though I hadn’t got a clue
about theatre, I’d been in punk bands and I kind of felt it was the next
logical step.
Is there any particular approach to the making of the show?
Well after I went to Manchester Uni
as a mature student to study drama and did their post-grad diploma in
playwriting, I started to do a circus show - partly to earn the money I needed
to carry on writing. We’d be going to parks in Hyton in Liverpool and if you
didn’t make them laugh they’d invade the stage and nick all your gear. So, I
learned how to really ‘put on a show’.
This coupled with my own hyperactivity
meant that I’ve
always seen theatre as a kind of circus, that needs that
element of the spectacle to go with any story. So, I suppose I see theatre as a
kind of circus really. I’m big on the need to entertain and thrill.
Does the show fit with your usual productions?
I hope so. I’m not directing this
one, even though I wrote it to direct myself, so I do think it has that
potential element of circus about it and I think Cressida (Brown - the
director) will be keen to exploit that as well as the more serious
political/emotional messages.
What do you hope that the audience will experience?
Thrills And Spills And Emotion And
Enlightenment About The Need For Revolution!
The Political History of Smack and Crack
Paines Plough’s ROUNDABOUT @ Summerhall,
Friday 3rd – Sunday 26th August 2018 (not 7th,
14th, 21st), 17:30
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