Darling's Big Mini-Budget

The quiet man gets the tone right for the statement of his political career

Prime Minister's Questions has been increasing in volume recently, making me think that parliament is already in election mode.

But even the most hostile recent Brown-Cameron exchanges were as nothing compared to the atmosphere surrounding this afternoon's pre-Budget report.

Alistair Darling began very low-key, almost sotto voce to early chortles about his claims that the government was "living within our means".

But the jeers began in earnest as the chancellor stated that the present crisis began in the US housing market.

Somehow such conduct felt inappropriate here. Vince Cable later described the situation as a national emergency and he is right. His party leader, Nick Clegg, sat through the proceedings in respectful silence, as did his Liberal Democrat colleagues - respectful not of the government, but of the gravity of the situation.

David Cameron would have done well to order his backbenchers to sit through the statement in silence. Such an approach would have spooked the government and, in the end, the chancellor drove them into submission with his relentless, quiet monotone anyway.

This was an assured performance from Darling, who appears to be genuinely unflappable in what he can now say is an "unprecedented global crisis" without being accused of talking down the economy. Indeed, such was the hyperbole flying around the house that this seemed like something of an understatement.

Darling won the battle with Downing Street to be honest about the fact that a fiscal stimulus now would have to be paid for later. This didn't stop George Osborne from punishing him for his frank approach, but it rather spiked his guns.

The chants from the Labour backbenches of "What would you do?" seemed to unsettle the shadow chancellor.

It was striking that Darling's economic forecasts were so optimistic: 1.5-2 per cent growth to return as early as 2010. I do hope he's right. There's clearly no point whatsoever in putting a set of emergency measures in place if you don't think they will work.

George Osborne said this marked the greatest failure of public policy in a generation. Like Margaret Thatcher before him, his voice has lowered a register and his righteous fury was at times impressive. At key moments, however, his voice cracked including when he described plans to increase National Insurance as "not just a tax bombshell but a precision guided missile".

Osborne's attack went down well with the Tory backbenchers, but it did not wound his opponent, who was able to engage what now must be Labour election narrative: where the government acted the Tories would have done nothing. "What would you do, George?" is a slogan of some resonance.

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Bertie Carvel's diary: What would the French think about infidelity to Doctor Foster?

The joy of debuting a new series, Rupert Murdoch's squeamishness and a sting in the tail.

According to the adage, the first thing an actor does when he gets a job is to go on holiday. And so, having finished our sold-out run of James Graham’s Ink at the Almeida and with the show (in which I play a young Rupert Murdoch) about to transfer into the West End, I’m packing my bags.

But before I can skip town, I’ve one more professional engagement: the press launch of series two of the BBC drama Doctor Foster, which we finished filming at Christmas. I’ve now seen the final cut of all five episodes, and I’m excited to share it with an audience. There’s no substitute for seeing other people’s reactions at first hand, especially with a show that got people talking so much first time around, and it’s electric to sit in a cinema full of expectant journalists and commentators and feel the room respond. Nothing beats this: to put so much into making a thing and then experience an audience’s unmediated, reflexive reaction. When it goes well, you feel that you’ve shared something, that you’ve all recognised something together about how things are. It’s a unifying feeling. A sort of bond.

Cheating spouses

Handling the interviews has been tricky, when there’s so little one can say without giving the plot away. (The first series began with Suranne Jones’s character Gemma, a GP, suspecting her husband Simon of having an affair.) What’s more, lots of the questions invite moral judgements that I’ve tried my best to avoid; I always think it’s really important not to judge the characters I play from outside, but simply to work out how they feel about themselves, to zero in on their point of view. There’s a sort of moral bloodlust around this show: it’s extraordinary. People seem to want to hear that I’ve been pilloried in the street, or expect me to put distance between myself and my character, to hang him out to dry as a pariah.

While I’m not in the business of defending Simon Foster any more than I’m in the business of attacking him, I am intrigued by this queer mixture of sensationalism and prurience that seems to surface again and again.

Shock horror

Oddly enough, it’s something that comes up in Ink: many people have been surprised to find that, in a story about the re-launch of the Sun newspaper in 1969 as a buccaneering tabloid, it’s the proprietor who considers dropping anchor when the spirit of free enterprise threatens to set his moral compass spinning.

I’ve never given it much thought before, but I suppose that sensationalism relies on a fairly rigid worldview for its oxygen – the SHOCKERS! that scream at us in tabloid headlines are deviations from a conventional idea of the norm. But what’s behind the appetite for this sort of story? Do we tell tales of transgression to reinforce our collective boundaries or to challenge them?

For me there’s a close kinship between good journalism and good drama. I’m reminded of the words of John Galsworthy, who wrote Strife, the play I directed last summer, and who felt that the writer should aim “to set before the public no cut-and-dried codes, but the phenomena of life and character, selected and combined, but not distorted, by the dramatist’s outlook, set down without fear, favour, or prejudice, leaving the public to draw such poor moral as nature may afford”.

So when it comes to promoting the thing we’ve made, I’m faced with a real conundrum: on the one hand I want it to reach a wide audience, and I’m flattered that there’s an appetite to hear about my contribution to the process of making it; but on the other hand I think the really interesting thing about the work is contained in the work itself. I’m always struck, in art galleries, by how much more time people spend reading the notes next to the paintings than looking at the paintings themselves. I’m sure that’s the wrong way around.

Insouciant remake

En route to the airport the next morning I read that Doctor Foster is to be adapted into a new French version. It’s a cliché verging on racism, but I can’t help wondering whether the French will have a different attitude to a story about marital infidelity, and whether the tone of the press coverage will differ. I wonder, too, whether, in the home of Roland Barthes, there is as much space given to artists to talk about what they’ve made – in his 1967 essay, “The Death of the Author”, Barthes wrote that “a text’s unity lies not in its origin but in its destination”.

No stone unturned

Touring the villages of Gigondas, Sablet and Séguret later that evening, I’m struck by the provision of espaces culturels in seemingly every commune, however small. The French certainly give space to the work itself. But I also notice a sign warning of a chat lunatique, so decide to beat a hasty retreat. Arriving at the house where I’m staying, I’ve been told that the key will be under a flowerpot. Lifting each tub in turn, and finally a large flat stone by the door, I find a small scorpion, but no key. I’m writing this at a table less than a yard away so let’s hope there won’t be a sting in this tale.

Ink opens at the Duke of York Theatre, London, on 9 September. More details: almeida.co.uk

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear