Support 100 years of independent journalism.

  1. Culture
15 August 2013

At the Edinburgh Fringe: Engels! The Karl Marx Story and The Confessions of Gordon Brown

Karl Marx and Gordon Brown unravel on stage in two political gems at this year's Edinburgh Fringe.

By Stephen Brasher

Engels! The Karl Marx Story

It is a truth universally acknowledged that it was Engels who bankrolled his friend Karl Marx in his less than successful publishing and political ventures and that Marx was, well, a bit dissolute in his lifestyle choices. Ben Blow and Matthew Webb have taken this idea, run with it and kicked it enthusiastically through the dialectic. Any audience members who were hoping for fifty minutes of the Eighteenth Brumaire of Louis Napoleon were disillusioned right at the start when we meet the two co-authors of The Communist Manifesto, sitting at a table. Marx has a gun in his mouth, and, it soon becomes apparent, is being, er, serviced under the table by a local Manchester prostitute Molly.

Molly (Rowan Winter) we learn has more than a passing contribution to the writing of the Manifesto – in fact she wrote most of it, and since Marx spends a large proportion of Engels’ money with her has been able to send her son Tarquin (Johnny Dillon) to Cambridge, which gives the dynamic duo access to the printing presses at the University. The already historically shaky narrative now careers off even further from the record as they at one point ride across France and Belgium on a three-legged horse. Marx, an inveterate thief of other people’s work, tries at one point to steal Les Misérables from a struggling Victor Hugo. The Blues Brothers glasses do come out at one point, but we’ve had such good fun I think we can forgive them that. I have no idea if Jebb and Blow are members of any Marxist sect, but if they are it is probably safe to assume that they have by now been expelled. Someone should take a punt on this show and book it into a London pub venue.

The Confessions of Gordon Brown

If Marx is presented as a man only too keen to take credit for other people’s work, Kevin Toolis’s The Confessions of Gordon Brown portrays a man not very keen on letting anyone else do anything at all. Ian Grieve gives a towering performance as Brown seemingly frozen in time at twenty to six in the morning, waiting for his staff to arrive at six, so he can shout at them. He is fixated by the example of his father “John Brown, minister…” and the motto of his old school Kircaldy High: “I strive to my utmost”. If there are one too many references to his hatred for Tony Blair and Cherie – “that couple – I think we all know who I mean” – it doesn’t distract too much from a portrait of a man who criticises others for not having fixed principles (and for the apparently even more heinous crime of being bald in politics), but doesn’t really seem to have many himself, aside from fulfilling his manifest destiny to become prime minister.

Sign up for The New Statesman’s newsletters Tick the boxes of the newsletters you would like to receive. Quick and essential guide to domestic and global politics from the New Statesman's politics team. The best of the New Statesman, delivered to your inbox every weekday morning. The New Statesman’s global affairs newsletter, every Monday and Friday. A handy, three-minute glance at the week ahead in companies, markets, regulation and investment, landing in your inbox every Monday morning. Our weekly culture newsletter – from books and art to pop culture and memes – sent every Friday. A weekly round-up of some of the best articles featured in the most recent issue of the New Statesman, sent each Saturday. A weekly dig into the New Statesman’s archive of over 100 years of stellar and influential journalism, sent each Wednesday. Sign up to receive information regarding NS events, subscription offers & product updates.
I consent to New Statesman Media Group collecting my details provided via this form in accordance with the Privacy Policy

Toolis should be congratulated for a rounded portrait of a man formed by power rather than resorting to the caricatures of new Labour common to much recent political drama. It was the best portrayal of the dreadful fate of being at the top since Michael Frayn’s portrayal of Willi Brandt in Democracy.

Engels! The Karl Marx Story runs at the Surgeon’s Hall, Nicholson St, Edinburgh until the 17th of August, while The Confessions of Gordon Brown will run at the Pleasance, Edinburgh until the 26th of August and then at the Trafalgar studio London 3rd-28th September