In The Club - Mark Thomas on The Red Shed, Adura Onashile on Expensive Shit and Ruaraidh Murray on The Club
It was Groucho
Marx who wrote how 'I don't want to belong to any club that will have
me as a member'. Marx quoted his resignation letter tendered to
Milton Berle's private members showbiz haunt, the Friars Club of
Beverley Hills, in his 1959 autobiography, Groucho and Me.
Immortalised in this way, Marx's words tapped into a form of wilful
outsiderdom courted by would-be geniuses ever since.
Even outsiders, however, have to belong somewhere, as three very different Edinburgh Festival Fringe shows look set to demonstrate this year. In The Red Shed, Mark Thomas presents a loving homage to the forty-seven foot wooden hut that forms the Wakefield Labour Club where he cut his stand-up teeth.
In his play, The Club, Ruaraidh Murray sets up a fictionalised account of life in The Tardis, the Clerkenwell-based railway arch turned 1990s hedonist's hang-out, where Brit-artists rubbed up against great train robbers, Boy George was on the decks and absinthe was all the ra…
Even outsiders, however, have to belong somewhere, as three very different Edinburgh Festival Fringe shows look set to demonstrate this year. In The Red Shed, Mark Thomas presents a loving homage to the forty-seven foot wooden hut that forms the Wakefield Labour Club where he cut his stand-up teeth.
In his play, The Club, Ruaraidh Murray sets up a fictionalised account of life in The Tardis, the Clerkenwell-based railway arch turned 1990s hedonist's hang-out, where Brit-artists rubbed up against great train robbers, Boy George was on the decks and absinthe was all the ra…