Blair is back to give Ed a headache

Not to put too fine a point on things, Tony is pissed off.

Tony Blair is back. The Middle East is aflame, the coalition floundering. Whatever your view of Labour's polarising former premier, he hasn't lost his sense of political timing.

"Blair the 'back-seat driver' tells Ed Miliband to up his game", reported the Sunday Telegraph. "The former prime minister has told Mr Miliband he has risked cheapening his role by intervening too often on too many relatively trivial issues."

Miliband was no doubt delighted with the advice. As Nick Clegg grapples the Monster Raving Loony Party for political survival – and David Cameron strides on to the international stage with all the gravitas and judgement of Dr Strangelove – Labour's current leader needs his predecessor popping up like he needs a hole in the head.

Attempts to brush off Sunday's briefing as part of a "regular" series of conversations between the two men have fooled no one. Blair is, not to put too fine a point on things, pissed off. He's angry at Miliband's apparent junking of New Labour. He's even angrier at attempts to tarnish his legacy with what he sees as misrepresentation of his efforts to bring Muammar al-Gaddafi into the international mainstream.

And he's most angry at what he regards as an effort to use the "Arab spring" as a further stick to beat him, his Iraq policy and his broader policy of progressive interventionism.

Ed Miliband's team believe this anger is now being channelled into a co-ordinated Blairite fightback. Jack Straw, Peter Mandelson, David Miliband and Jim Murphy have all made recent high-profile interventions defending Blair and his foreign affairs record and philosophy. "We know what's going on," said one Miliband supporter. "We're not stupid."

Claims in the Telegraph article that Blair was responsible for recent improvements in Milband's performance and standing have been met with bewilderment. "It would be ludicrous to pretend this is all down to Tony – the unpopularity of the government's spending cuts obviously plays a major role – but Ed is always happy to listen to his advice," said a leadership source.

Those close to the Blairite camp see things somewhat differently. According to supporters of the former leader, Ed Miliband is becoming increasingly nervous at his failure to build a proper support base within the party. "Last time Ed spoke to Tony he wanted his help and advice in shoring up his position," one said. "It's taking much longer to bring people round than Ed anticipated."

There are also frustrations among a number of Blairite supporters with what they see as Miliband's failure to build on his recent tactical success. "The coalition keeps screwing up, and we keep hitting them. But we're not building an alternative case for why people should back Labour. Our only argument is 'at least we're not the Tories or the Lib Dems'."

Yet differing emphases over the response to the tumultuous events in the Middle East are creating the most significant tensions. Miliband's team fervently believes there is no appetite among the voters for further international adventurism. "Even if we wanted to get involved in Libya, the public won't wear it," said one source.

This sits in stark contrast to the interventionist instincts of some members of his own shadow cabinet. At a speech to the Royal United Services Institute in London on Thursday, Jim Murphy issued a veritable call to arms. "Britain can and should play an important part in shaping world events and trends, with our armed forces its heart," he urged.

That Britain should have responsibilities beyond her borders, he said, was "not, as some would have it, ideological, but, as we have seen over the last few days, a necessary response to the world in which we live. This is a challenge for the Labour Party. Opposition is about proving your preparedness to engage with the issues you would have to in government if it is to be responsible and ultimately electorally credible."

Compare that to an article Miliband wrote for the Observer four days earlier and the difference in emphasis is striking. He wrote:

The neocons were wrong to think we could impose democracy at the point of a gun. In this new era, soft power will often be a better way to achieve hard results. That is why support for civil society, the promotion of national assets such as the British Council and the BBC World Service, is so important. Our template should be the EU's response to the democratic revolutions of 1989 which helped make change in eastern Europe irreversible, with economic aid, technical assistance and institution-building.

The crisis in the Middle East has forced Miliband to sit down at the chessboard of foreign policy rather earlier in his leadership than he would have liked. Because of that, he has yet to formulate a settled policy agenda.

But he does have one simple rule: avoid getting into the mess Blair got himself into.

It's not a foreign affairs credo the former leader and his supporters are likely to warm to.

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.