Like B*Witched and the SDP, I am far greater than the sum of my parts

Playing Top Trumps inside your own head.

Susan Calman: she's much greater than the sum of her parts. Photograph: Getty Images

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I love Twitter. I really do. Little fills my heart with joy more than disseminating pictures of cats dressed in funny costumes. I think it’s what the inventor of the internet would’ve wanted. It’s also easy to get used to the concept of “less is more” with Twitter. A mere 140 characters to discuss important political issues? No problem. It’s simple to vacuum-pack your life philosophy into one tweet. What could possibly go wrong? The obsession with reducing complex issues to a bite-sized morsel hasn’t been all fun. Disappointingly, some seem to believe that social media have led to a reduction in the capacity of the public to understand more than one idea at a time. Suddenly simplicity is the key to explanation.

I have personal experience of this particular trend. I’m often asked in interviews what it’s like to be a Scottish, female, comedian, ex-lawyer lesbian. I always answer that I’d find it more difficult to be an English, male, comedian, ex-lawyer lesbian and then I wait for the laugh from the journalist asking the question. Sadly, like summer in Scotland, it never comes. Of course, I’m being flippant, after being asked what is, in essence, a stupid question.

What I’m really being asked to do is play a game of top trumps with my own head, to simplify myself into one banner headline. Sort of what you’d have to do at the world’s least exciting speed-dating evening. But how do you start defining what you are? Is my being Scottish more important than the fact that I’m a feminist? Is being gay more influential within my own psyche than being a comedian? Does the fact that I’m an ex-lawyer with a degree in constitutional law mean that I have more sympathy with politicians? Usually I give a long and involved answer to the journalist who’s dissecting my political make-up with the sharpness of a scalpel made from marshmallow, only to read the final article, where my analysis is summarised with the sentence: “Calman likes cats.”

Whenever it seems that I’m required to create a Venn diagram of my mind, I remember the greats. The Nolans, the Jackson Five, B*Witched, the SDP. All examples of people who, when they worked together, were greater than the sum of their parts. And that’s what I am. A girl band comprising one short woman who can neither dance nor sing. I should enter Eurovision.

But back to the problem. Can I really say I’m more Scottish than gay? Is that even possible? I can’t discuss my queer politics without remembering I grew up in Glasgow in the 1980s where being gay was as easy as being a vegan in an abattoir.

What about being a woman in comedy? I’m often described as a “female” comedian, as if that adjective is required in order to prepare the audience for what might occur. It’s not really required in other jobs. Oh look there’s a “lady teacher” or a “woman accountant”. It’s a subtle way of introducing to an audience the notion that I don’t deserve the full title. Like giving someone beans on toast and then, when presenting them, whispering, “Sorry, they’re own-brand.” My gender obviously influences what I say. I can’t, for example, bemoan how difficult it is to be a white, straight, middle-class man in today’s society. (Apparently it’s really tough – at least, that’s what I keep hearing.)

If I say I’m Scottish first and foremost then I’m accused of being parochial. If I’m gay first (or a premier gay, as I like to call it) then I’m angry and man-hating. If I say that my legal background is most important then I’m dull. And if I say that the comedy is the most important thing, then why would anyone listen to a foul-mouthed clown?

It’s not possible to dissect myself, like an attention-seeking Mr Potato Head, into the sum of my own parts. The obsession with the 140-character Twitter summary of one’s identity just leads to descriptions sounding like a personal ad. “Late 30s gay scots lady, interest in law, GSOH”. The complexity of the human mind can’t be reduced to a one-word description. If we allowed ourselves to breathe, then perhaps we wouldn’t be so disappointed about other people we meet or vote for. We don’t live in the world of Mr Men, where I can wear a badge that says “Little Ms Scottish” or “Little Ms Lady Gay Comic”. I wish I could. But it’d have to be a really big badge.

Susan Calman is a comedian, and more

This article first appeared in the 12 April 2013 issue of the New Statesman, Centenary Special Issue

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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