The Finborough Theatre is to stage a season of plays next month dedicated to the Scottish Independence Referendum, a season which apparently is the "only one of its kind" in England. The limited season, entitled Scotland Decides, lasts for 4 weeks and includes three English premieres of Scots works and a new play by leading 'Yes' campaigner Alan Bissett.
Artistic Director Neil McPherson has said that there is a current lack in the amount of theatre responding to the vote:
"I was profoundly surprised though to see how little the English theatre is responding to the vote. As the BBC says, 'There are more Scots in England than any city in Scotland... more than the population of Edinburgh or Glasgow.'"
There may be not enough plays in England which tackle the Independence vote directly however there are many plays which tackle similar issues. Some say that one possible effect from Scotland gaining independence is that England’s identity will weaken, and without the strong Celtic ties that Wales and Scotland can boast, England's face will be in danger.
Jez Butterworth’s The Winterling (2006), Parlour Song and Jerusalem (both 2009 in the UK) all have rural or suburban settings which present England that have a rawness which is compromised by globalisation and mass media. The Winterling’s Dartmoor setting and Jerusalem’s Wiltshire forest clearing setting presents an England which is wild and still in touch with its ancient origins. Yet England’s individualism is then made problematic by an onslaught of Coca-Cola, St George’s Day pageants which celebrate an X Factor culture, and a uniformity of the landscape. Parlour Song, on the other hand, is the antithesis in some ways to Jerusalem, where the middle class, Middle England, middle aged Ned is arguably a weak, unsuccessful product of the identical houses which make up the lifeless setting. It is clear that England is presented as a binary of the old and the new, and perhaps that its identity is under strain.
Rory Mullarkey’s new play The Wolf from the Door (soon to open at the Royal Court Upstairs) also explores Middle England and sees the characters try to ‘change the country forever’ and even Richard Bean’s satire romp Great Britain (soon to be transferring to the Theatre Royal Haymarket with Lucy Punch taking over Billie Piper’s role) hints at the interest with the tabloids as being a national worry.
After years of clinging onto the ‘Great Britain’/ ‘United Kingdom’ tag, if Scotland does win independence, then perhaps England’s future identity will be put into question, hence the need and great hunger for contemporary plays which explore the state of the nation. As for the Scottish plays at the Finborough, the brevity of the season perhaps reveals that there isn’t much of an interest in the vote. The real interest lies in its result and its potential effect on the countries involved.
The Scotland Decides season runs from 2nd – 18th September at the Finborough Theatre, with the election also on 18th September.