Reed & murdoch’s unlikely night out: a soldier’s tragedy and scotland’s theatrical legacy
A soldier lost
in the inferno of the National Theatre of Scotland’s ‘Black Watch’ – and a shared evening for Lou Reed and Rupert Murdoch. It’s a story that began with a decimated regiment and exploded onto the world stage, leaving an indelible mark on both theatre and the memory of conflict.From fife pub to battlefield: the genesis of ‘black watch’
The seeds of this groundbreaking production were sown in the bleak aftermath of the Iraq War. Vicky Featherstone, the theatre’s founding artisticdirector, recalls the crucial moment: a front-page article in the Glasgow Herald detailing Tony Blair’s decision to dissolve Scotland’s Highland regiments and merge them into the Royal Regiment of Scotland. Between those two pages – a story of tragedy, of three Black Watch soldiers obliterated by an IED – lay the genesis of ‘Black Watch.’ Gregory Burke, the playwright, immediately recognized the potential.
Voices from the frontline
Burke’s genius lay in his commitment to authenticity. He immersed himself in the lives of the soldiers, spending countless hours interviewing veterans from Fife and Tayside – men he’d known since childhood. “My voice was the voice of the soldiers,” he stated. “I didn't know any of them personally, but as soon as I went in the room, one of them said, ‘Oh, you know my sister.’ I was at school with her.” This dedication to capturing genuine emotion, the raw anxieties and the heartbreaking longing for home, became the play’s defining characteristic.
A stage set for war
The production’s innovative set design, spearheaded by Laura Hopkins, was a masterstroke. The central pool table, a seemingly innocuous prop, transformed into a tank, seamlessly transitioning the audience from a Fife pub to the heart of a war zone. “We were trying to build a tank on top of it, but nothing was working,” Hopkins admitted. “Then we realised the dimensions of the interior of this tank were the same as the footprint of the table. That was the moment – ‘Yes, that’s the way to do it.’”
Beyond verbatim: a national epic
While often described as ‘verbatim theatre,’ Gregory Burke deliberately expanded upon the interview material. “It was billed as verbatim theatre, but I applied author’s prerogative to embellish and dramatise,” he explained. ‘Black Watch’ became more than just a collection of personal accounts; it evolved into a sweeping exploration of Scottish soldiering, of Scotland’s complex relationship with militarism, and the enduring legacy of the Black Watch itself.
A global phenomenon
Within six months of its debut in 2006, ‘Black Watch’ captivated audiences worldwide. It became a global phenomenon, touring extensively and earning rave reviews. Even John Tiffany, the director, initially skeptical of the concept, was ultimately won over. “I said to Greg, ‘Don’t write a play – we’re going to revive the big Scottish theatre event show.’ But I had no idea how to do it,” he confessed. “That became very apparent a couple of weeks into rehearsals.”
A moment of collective grief
The play's impact was profound. During a preview, when the knife emerged from the pool table, the audience gasped – a collective moment of shared grief and recognition. “When the knife came up through the pool table, there was a gasp,” John Tiffany recalled. “John and I were at opposite ends of a row and we leant forward to look at each other as if to say, ‘We are on to something here.’” The play’s success wasn't merely a critical triumph; it was a visceral experience that resonated deeply with audiences, prompting an outpouring of emotion and a profound sense of connection to the story.
A lasting legacy
The play’s impact continues to be felt today. Years later, actors auditioning still mention its influence. Lou Reed and Rupert Murdoch's shared evening in New York – a seemingly incongruous pairing – serves as a testament to the play’s ability to transcend cultural boundaries and provoke reflection on the enduring cost of conflict. As one veteran reportedly told Reed,