Exclusive: the end of Blue Labour

"Maurice Glasman's actions have made supporting the project untenable."

Blue Labour, the informal Labour policy group established by Ed Miliband advisor Maurice Glasman, is to be effectively disbanded.

Labour MP Jon Cruddas and Middlesex University academic Jonathan Rutherford have both informed Lord Glasman they no longer wish to be associated with the project following an interview given by the controversial peer in which he expressed a belief that immigration to the UK should be completely halted.

A third influential supporter, Dr Marc Stears, is said by friends to be "deeply distressed" by Glasman's comments, and is also considering his future engagement with Blue Labour.

Asked by the Daily Telegraph's Mary Riddell whether he would support a total ban on immigration, even if just for a temporary period, Lord Glasman replied, "Yes. I would add that we should be more generous and friendly in receiving those [few] who are needed. To be more generous, we have to draw the line."

In response to a further question on whether he supported Welfare Secretary Iain Duncan-Smith's call for British jobs for British workers, he responded, ""Completely. The people who live here are the highest priority. We've got to listen and be with them. They're in the right place -- it's us who are not."

The Telegraph profile is the latest in a series of increasingly eccentric interviews and public appearances given by the Labour Peer, in which he has attacked David Miliband, Tony Blair, Gordon Brown and Neil Kinnock, and claimed his agenda is influenced by Aristotle, Miles Davis, Aldo Moro, Lionel Messi and the Pope.

Last month Labour Justice spokeswoman Helen Goodman circulated a critique of Blue Labour to all members of the Parliamentary Labour Party in which she claimed, "[Glasman] characterises as female all the aspects of New Labour he dislikes, whereas all the characteristics he applauds he draws as male. It looks more like something suitable for the psychotherapists' couch than a political tract."

"If Glasman thinks we will all greet this with an ironic post-feminist smile, he is wrong. How can we in a country where 1,000 women are raped each week? He seems to be harking back to a Janet and John Fifties era".

Lord Glasman had been warned by both Cruddas and Rutherford that his media appearances were alienating potential supporters, and had asked him to lower his profile. Both men told friends they believed they had been give guarantees that he would do so, with Rutherford reportedly describing his latest intervention as "a breach of faith".

One source close to Blue Labour said, "Both Cruddas and Rutherford repeatedly told Maurice to tone it down, but he ignored them. Their view is the Blue Labour brand is now too contaminated to continue with the project in its present form. They still hope it will be possible to salvage some of the ideas and themes, but Maurice's actions have made supporting Blue Labour in its present incarnation untenable."

Lord Glasman has formed part of what has been described as Ed Miliband's "long-term strategy group" which meets regularly with the Labour leader on Sunday afternoons. Other members of the group reportedly include Guardian journalist John Harris, Jonathan Rutherford, Chuka Umunna, IPPR director Nick Pearce and Compass chair Neal Lawson.

However, Glasman's most recent comments have alarmed Miliband and his team. "Ed values a lot of things Maurice has raised, such as his focus on strong communities," said a source, "but there are a lot of elements of Maurice's agenda he doesn't agree with, and it's a myth that he has become Ed's main policy person."

UPDATE, 12.26 20 July: Maurice Glasman has now sent me a response via email. Here it is in full:

I overstated the position [on immigration]. I was not talking about what should happen.

I want most importantly to reiterate my full and total support for immigrant communities in Britain. I have worked long and hard with people of all backgrounds, trying to build a common life, and have spent many years campaigning for a living wage for all workers in London, including for those from the most vulnerable migrant communities.

We all make mistakes. And this is mine. I just hope that it does not detract from the energy and real goodness of the work. I will do all I can too to strengthen frayed relationships.

 

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My son is shivering – precisely the response you want from a boy newly excited by drama

I can only assume theatre is in his blood, but not from my side of the family.

I went to the National Theatre last week to see, not a full production, but a reading of a play – Tarell Alvin McCraney’s Wig Out!, directed by, and starring, the writer himself. The pre-publicity described the play as a “big, bold and riotous look at gender, drag and fabulousness”, in which “the House of Light competes with the House of Diabolique for drag family supremacy at the Cinderella Ball”. It lived up to this thrilling billing, transcending the modest expectations of a “read-through” and bursting into vivid life on the stage. The audience, less subdued, less thoroughly straight and white than a standard West End theatre crowd, rose to the occasion, whooping their approval and leaping to their feet at the end in a genuinely rousing and moved ovation.

It was a great evening, and came hot on the heels of another success only two weeks ago, when Ben and I took our youngest to see Jez Butterworth’s The Ferryman. The boy is only 16, and freshly into drama, so it felt risky taking him to a new play. But we needn’t have worried. The piece is visceral and physical, set in County Armagh in 1981; against the backdrop of the hunger strikes, it tells a story of the long reach of the IRA, and even though the boy needs some of the history explaining to him, when I turn to him at the end of the final, shocking scene, he says: “I am actually shivering.” Which is presumably the precise response you would want to get out of a 16-year-old boy, poised on the brink of being excited about drama.

But theatre isn’t always exciting, is it? Let’s be honest. Ben and I have slunk out of too many intervals, bored witless by something flat and stagey, so I chalk these two latest experiences up as something of a triumph.

I didn’t even know the boy was so into theatre until I saw him on stage this year in a school production of Enron. He only had a small part, but still had to come to the very front of the stage, alone in a spotlight, and deliver a monologue in a Texan accent. And seeing him out of context like this, I nearly fell off my seat with the jolt of dislocation, almost not recognising him as my own son. Who knew he could do a Texan accent? (He’d practised for hours in the bathroom, he told me later.) And when did he get so tall? And so handsome? I see him every day and yet all I could think, seeing him up there on stage, was: “Who on earth IS this lanky six footer with the Hollywood smile, making eye contact and connecting with the audience in a way I never could in 20 years of gigs?”

I can only assume it is in his blood, and has come from Ben’s side of the family. Ben was studying drama at Hull when I met him; indeed the first time I saw him with his clothes off was on stage, in a production of The Winter’s Tale where the director, somewhat sadistically I thought, lined up a chorus of young men to be dancing satyrs, and made them strip down to nothing but giant codpieces. We’d only just started dating, so it was quite the introduction to my new boyfriend’s body.

Theatre was in his blood, too, inherited from his mother, and he was always confident on stage, enjoying the presence and feedback of an audience, which is why he still plays live and I don’t. His mother had been an actress, performing with John Gielgud and co at the Memorial Theatre Stratford-upon-Avon, until her career was cut short by having a child, and then triplets. At her funeral a couple of years ago we listened to a recording of her RADA audition from the 1940s, in which she performed one of Lady Macbeth’s speeches, her cut-glass English tones, declamatory and dramatic, in many ways every bit as fabulous and flamboyant as the drag queens in Wig Out!, whose theatricality she would have adored. She loved the stage, and she loved fame, and when it couldn’t be hers she revelled instead in mine and Ben’s, keeping every press cutting, wearing all the T-shirts, coming to every back-stage party. If it couldn’t be the spotlight, then the wings would do, darling.

Tracey Thorn is a musician and writer, best known as one half of Everything but the Girl. She writes the fortnightly “Off the Record” column for the New Statesman. Her latest book is Naked at the Albert Hall.

This article first appeared in the 20 July 2017 issue of the New Statesman, The new world disorder