The Ghost of Capitalism: Brian Cox Haunts the Edinburgh Fringe with a Prophetic Performance

Succession’s Tyrant Finds New Life as Adam Smith, Guiding a Play Through the Financial Crisis

The air in Edinburgh this August is thick with the buzz of the Fringe, a kaleidoscope of creativity that throws up unexpected gems. This year, however, one particular production has managed to cut through the delightful chaos, drawing audiences and critics alike with a potent blend of historical gravitas and searing contemporary relevance. Brian Cox, the titan of television best known for his unforgettable portrayal of the ruthless patriarch Logan Roy in HBO’s “Succession,” has traded the boardroom for the ethereal plane, appearing as the ghost of Scottish Enlightenment philosopher Adam Smith in the new play “Make It Happen.” The result, according to early reports, is nothing short of electrifying, a performance that is being hailed as “hauntingly good” and a “bright spot” in a production that tackles the seismic tremors of the 2008 banking crunch.

Cox’s foray into the world of economic history, albeit through the spectral lens of a theatrical production, is a fascinating turn. It’s a move that leverages his formidable presence and his proven ability to imbue complex characters with both menace and a surprising, albeit twisted, logic. In “Make It Happen,” Cox’s Adam Smith is not merely a historical footnote; he is presented as a guiding, perhaps even a cautionary, spirit, observing the fallout of the very economic principles he helped to shape. The play, which has premiered at the Edinburgh Fringe, promises to be a potent exploration of capitalism’s inherent vulnerabilities, viewed through the eyes of its intellectual progenitor.

Context & Background: The Specter of 2008 and the Birth of Economic Thought

The choice of the 2008 banking crisis as the thematic core of “Make It Happen” is a timely one. Over a decade on, the scars of that global financial meltdown are still visible. The collapse of Lehman Brothers, the subsequent bailouts, the widespread job losses, and the erosion of public trust in financial institutions continue to cast a long shadow. It was a period that forced a global reckoning with the unchecked power of financial markets and the intricate, often opaque, mechanisms that underpin them. The crisis ignited fervent debate about the efficacy of deregulation, the ethics of executive compensation, and the very nature of risk in the modern economy.

Into this crucible of contemporary economic anxiety steps Adam Smith, the 18th-century Scottish economist and philosopher. His seminal work, “The Wealth of Nations,” published in 1776, laid the groundwork for modern capitalist theory. Smith famously championed the concept of the “invisible hand,” arguing that individuals pursuing their own self-interest, in a free and competitive market, would ultimately benefit society as a whole. His ideas, emphasizing free trade, division of labor, and limited government intervention, have been foundational to economic policy for centuries. However, critics have long argued that Smith’s theories are either too simplistic to address the complexities of modern global finance or have been deliberately misinterpreted and weaponized by those seeking to justify deregulation and profit maximization at any cost.

The playwright behind “Make It Happen” has clearly recognized the dramatic potential in placing Smith’s ghost at the scene of the 2008 crisis. What better way to dissect the failings of contemporary capitalism than to have its intellectual architect witness its spectacular implosion? The juxtaposition of Smith’s foundational pronouncements with the chaotic reality of the financial crash offers a rich seam of dramatic irony and intellectual provocation. It raises questions about whether Smith’s vision was fundamentally flawed, or whether his principles have been perverted by subsequent generations.

Brian Cox, with his imposing stage and screen presence, is an inspired choice to embody this spectral figure. His portrayal of Logan Roy, a man who built an empire through ruthless pragmatism and a keen understanding of human frailty, suggests an actor capable of conveying both intellectual authority and a profound, perhaps weary, understanding of power dynamics. Casting Cox as Adam Smith creates an immediate, potent resonance. Audiences will likely draw parallels between the manipulative genius of Logan Roy and the theoretical architect of a system that, in 2008, seemed to spiral out of control. This casting choice alone elevates “Make It Happen” from a potentially dry historical exposition to a compelling dramatic inquiry.

In-Depth Analysis: Cox as the Ethereal Arbiter of Economic Fate

The success of “Make It Happen,” as suggested by its early reviews, hinges significantly on Brian Cox’s performance. The description of him as “hauntingly good” speaks to an actor who can inhabit a role with a deep sense of presence and emotional complexity, even when playing a disembodied spirit. As Adam Smith, Cox is tasked with more than just reciting economic theory; he must become the conscience, the observer, and perhaps the judge of the events of 2008.

The spectral nature of Smith’s character allows for a unique theatrical device. He can move through the scenes, unseen by the other characters, but able to comment directly on their actions and motivations. This enables the playwright to directly engage with the audience, offering insights that characters trapped within the unfolding drama might not possess. Cox’s ability to command attention, to deliver lines with a gravitas that can shift from intellectual pronouncements to moments of profound sadness or even anger, is crucial here. He can be the voice of reason, the lament of the misunderstood, or the spectral observer of human folly.

The play likely explores key tenets of Smith’s philosophy. One can imagine scenes where Cox’s Smith reflects on the concept of self-interest. Was the pursuit of individual profit by bankers in the lead-up to 2008 a perversion of his “invisible hand,” or was it precisely what he described, albeit with unintended consequences? The play may also delve into Smith’s ideas on competition and regulation. While Smith advocated for free markets, he was not an absolutist; he acknowledged the need for certain regulations to prevent monopolies and ensure fair play. The production could explore how these nuances were lost or ignored in the decades leading up to the crisis.

Cox’s portrayal is likely to be a masterclass in understated power. Unlike the bombastic pronouncements of a Logan Roy, Smith’s wisdom might be delivered with a more measured, yet no less impactful, tone. The “haunting” quality suggests that Smith’s presence is not just a narrative device, but an emotional one. He may be haunted by the outcomes of his ideas, by the ways in which they have been implemented and twisted. This emotional depth will be key to preventing the play from becoming a dry lecture on economics. Cox’s ability to convey a sense of inner turmoil, of intellectual wrestling with the legacy of one’s own work, is precisely what will make his performance compelling.

Furthermore, the very idea of Smith’s ghost engaging with the 2008 crisis suggests a narrative that might critique the modern financial system by contrasting it with the more perhaps more grounded, or at least differently principled, era in which Smith wrote. The play could be a powerful commentary on how globalization, complex financial instruments like derivatives and subprime mortgages, and a culture of excessive risk-taking have taken the “invisible hand” and turned it into a clawing, grasping entity.

Pros and Cons: The Brilliance of Cox vs. the Specter of Didacticism

The casting of Brian Cox is undeniably the primary draw of “Make It Happen,” and a significant “pro” for the production. His track record, particularly his recent success in “Succession,” has cemented his status as a highly sought-after and critically acclaimed performer. His ability to embody intellectualism, power, and complex moral ambiguity will lend immense weight to the character of Adam Smith. The sheer gravitas he brings to the stage can elevate even a challenging subject matter, making it accessible and engaging for a wider audience.

As a “bright spot,” Cox’s performance likely provides a strong anchor for the play. In a production tackling a subject as vast and potentially dry as the 2008 banking crisis, a charismatic and commanding central performance is crucial for maintaining audience interest. His portrayal can transform theoretical concepts into tangible dramatic stakes, allowing the audience to connect with the human cost of economic decisions.

However, the nature of the subject matter also presents potential “cons.” A play that aims to explain or critique a complex financial crisis risks becoming overly didactic, bogged down in exposition, or alienating audiences who are not already well-versed in economic theory. Even with Cox’s star power, if the script does not strike a delicate balance between intellectual inquiry and compelling drama, the play could struggle to find its footing.

Another potential challenge lies in how the character of Adam Smith is interpreted. If the playwright presents a one-sided or overly simplistic view of Smith’s philosophy, or if the critique of capitalism becomes too heavy-handed, the play could lose its nuance. The effectiveness of Cox’s performance will also depend on the quality of the supporting cast and the overall direction of the production. Even the most brilliant actor can be hampered by a weak ensemble or a muddled staging.

The Edinburgh Fringe is a notoriously demanding platform. Plays there must capture attention quickly and deliver a memorable experience. While “Make It Happen” has the advantage of Cox’s involvement, it still needs to demonstrate originality and dramatic flair to stand out amidst the hundreds of other performances. The challenge will be to make the ghost of Adam Smith not just an observer, but an active, engaging participant in the unfolding narrative, using his presence to drive the plot and illuminate the human stories at the heart of the financial crisis.

Key Takeaways

• Brian Cox, star of “Succession,” delivers a powerful performance as the ghost of Adam Smith in the new play “Make It Happen.”
• The play explores the 2008 banking crisis through the lens of its intellectual architect, Adam Smith.
• Cox’s casting is a significant draw, bringing gravitas and dramatic weight to a complex subject.
• The production offers a unique opportunity to examine contemporary capitalism through the historical perspective of Adam Smith’s foundational economic theories.
• Potential challenges include avoiding didacticism and balancing intellectual discourse with compelling dramatic narrative.
• The success of the play will depend on the script’s ability to translate economic concepts into engaging human drama, supported by strong direction and a capable supporting cast.

Future Outlook: Beyond the Fringe

Should “Make It Happen” prove to be a critical and commercial success at the Edinburgh Fringe, its future prospects are considerable. The topicality of its subject matter, combined with the undeniable draw of Brian Cox, makes it a prime candidate for transfer to larger West End or Broadway stages. Plays that resonate with the public’s anxieties about economic stability and the ethical implications of capitalism often find receptive audiences in established theatrical hubs.

The production could also serve as a catalyst for renewed discussion about the relevance of classical economic thought in the 21st century. In an era marked by increasing economic inequality, the rise of new technologies disrupting traditional markets, and the persistent specter of financial instability, revisiting the foundational principles of capitalism through a dramatic, humanistic lens is invaluable. Cox’s performance as Smith could encourage a deeper engagement with Smith’s own writings, encouraging a more nuanced understanding of his theories beyond simplified soundbites.

Furthermore, the play’s success could pave the way for other productions that explore historical figures and intellectual movements in relation to contemporary issues. The theatrical medium is uniquely suited to animating abstract ideas and making complex historical narratives accessible and emotionally resonant. If “Make It Happen” demonstrates that tackling weighty subjects like economic crises can be both intellectually stimulating and dramatically compelling, it may inspire a new wave of socially conscious and historically informed theatre.

The play’s ability to resonate beyond the Fringe will ultimately depend on its thematic depth and its capacity to offer fresh insights. Simply presenting Adam Smith as a historical figure commenting on current events might not be enough. The playwright needs to find a way to connect Smith’s ideas directly to the mechanisms and consequences of the 2008 crisis in a way that is both illuminating and dramatically satisfying. If “Make It Happen” can achieve this, it has the potential to become a significant cultural touchstone, a play that not only entertains but also provokes thought and dialogue about the very foundations of our economic world.

Call to Action

For those fortunate enough to be in Edinburgh during the run of “Make It Happen,” securing tickets to witness Brian Cox’s performance as the spectral Adam Smith is an opportunity not to be missed. The buzz surrounding the play suggests an event that will be talked about long after the final curtain call. Attending the production offers a chance to engage with a vital contemporary issue through the powerful medium of theatre, illuminated by one of the finest actors of our generation.

For those unable to attend the Edinburgh Fringe, keep a close watch on news regarding potential transfers of “Make It Happen” to major theatrical centers. Following theatre news outlets and the production’s official channels will be the best way to stay informed about future opportunities to experience this potentially groundbreaking play. The conversation ignited by Cox’s portrayal of Adam Smith and the exploration of the 2008 crisis is one that deserves widespread attention, and supporting such productions is a crucial way to encourage more thought-provoking and relevant theatre.

Finally, even without seeing the play, this production serves as a reminder of the enduring relevance of figures like Adam Smith and the critical importance of understanding the historical context of our current economic systems. It is an invitation to delve deeper into economic history, to question the assumptions that underpin our financial world, and to consider the ethical implications of the pursuit of wealth. The ghost of Adam Smith, as brought to life by Brian Cox, is a potent call to engage with these crucial questions.