The Edinburgh International Festival unfurled its theatre program with James Graham’s much-anticipated ‘Make It Happen’, a production that initially seemed to fumble but ultimately soared to become a powerful, memorable exploration of a defining historical moment. Despite an unconventional opening act that tested audience patience, this ambitious work, co-produced by Dundee Rep, the Edinburgh International Festival, and the National Theatre of Scotland, solidified its standing as a truly spectacular artistic triumph.
Graham’s play boldly delves into the tumultuous narrative of Fred Goodwin, the controversial Royal Bank of Scotland boss whose meteoric rise and catastrophic fall mirrored the broader unraveling of the 2008 financial crisis. Central to this narrative is a compelling intellectual confrontation, as the play artfully pits Goodwin against the long-dead moral philosopher Adam Smith, crafting a vibrant tableau that resonates with the complexities of contemporary financial crisis play dynamics.
Initially, director Andrew Panton’s staging presented a deliberate challenge, with the first half unfolding akin to an extended, disorienting karaoke night. Audiences awaited the appearance of the acclaimed Brian Cox acting presence, only for the play’s biggest star to remain offstage for a significant portion, a choice that underscored the production’s unconventional approach to dramatic build-up within the Scottish contemporary drama landscape.
Visually, the production was an immersive spectacle. The towering stage, brought to life by Finn den Hertog and Lizzie Powell’s shifting light and video designs, created an effect of being perpetually caught in the dazzling, if at times relentless, ambiance of a millennial club. This elaborate theatre production review highlights the deliberate, almost overwhelming, sensory experience of the initial scenes.
However, it was in the second half that ‘Make It Happen’ truly found its compelling rhythm, meticulously unpicking the intricate layers of the global financial meltdown of 2008. Here, Graham’s script allowed for a long-delayed reckoning, as Goodwin faced the profound and often overlooked nuances of Adam Smith economics, transforming the play into a gripping intellectual and moral inquiry.
The performances were pivotal to the play’s success. Sandy Grierson delivered a performance as Fred Goodwin that was both chillingly authentic and deeply poignant, portraying a working-class ascent tragically blinded by an era of unchecked greed. Complementing this, Brian Cox’s portrayal of Adam Smith was a masterclass in capturing the philosopher’s multifaceted persona, from a figure of commercial freedom to a commanding moral arbiter, showcasing the depth of his Brian Cox acting prowess.
A formidable chorus of 14 powerful Scottish actors provided a dynamic backdrop, their impressive collective talents in song and movement enriching the narrative tapestry. They seamlessly transitioned between roles, embodying various figures who influenced the unfolding story, including Andy Clark’s robust portrayal of Chancellor and Prime Minister Gordon Brown, grounding this Scottish contemporary drama in familiar national figures.
Ultimately, ‘Make It Happen’ is a messy yet brilliantly executed celebration of Scotland’s often overlooked, vital role in shaping our current fractured and dangerous times. This memorable Edinburgh Festival Theatre offering provides a compelling and insightful commentary on history, economics, and human ambition, proving that patience can indeed yield spectacular artistic rewards.
