I, Daniel Blake – Death of an Everyman

#fiction #theatre #bureaucracy #austerity

Warning: Contains spoilers

A statement commonly misattributed to Joseph Stalin holds that the death of one man is a tragedy, but the death of millions is only a statistic. Its perseverance attests to its fundamental truth. Not only do our minds glance off human misery on a massive scale, but our media culture routinely elevates individual tragedies over mass suffering in the service of ‘human interest’. Catastrophes require avatars to be relatable, and individual victims such as Alan Kurdi, Renée Good or Anne Frank will come to stand in for all those who shared their fate.

And where real life does not readily yield relatable faces for a tragedy, art may create them. I, Daniel Blake stands in this tradition, of social realism which centres the misery inflicted on the working class. The movie, and now stage show, is the j’accuse of veteran filmmaker Ken Loach, and a testament to the thousands of Britons who were socially murdered as a result of austerity. Silent victims whose deaths resulted from the impersonal technocratic machinery of the state and the invisible hand of the market. The movie premiered in 2016 when the UK had been in the vice of austerity for eight years. Now, over ten years later, Daniel Blake has come to the stage to tell his story once again.

Like the movie before it, I, Daniel Blake moves inexorably and mercilessly towards its grim conclusion. One does not, after all, mention a stroke in Act I for everyone to live happily after by the end. It is the journey, not the destination, which is salient and I, Daniel Blake takes the audience on a dismal tour of all the dehumanising cruelties of the British workfare state, illuminating what happens when a government decides to deal with the messiness of human existence by smothering its beautiful and irreducible variety with the cold impersonality of standardised forms, checklists and scripts.

We are introduced to the titular Daniel Blake just as he is signed off for work after having suffered a stroke. A fundamental misunderstanding about the nature of Britain’s infamous ‘work capability assessments’ – with Daniel labouring under the misapprehension he is to speak about his condition rather than fill out a predefined survey – means that the state deems him fit to work. Social security payments thus become contingent on a pointless search for a job, plunging Daniel into a bureaucratic nightmare of Kafkaesque proportions. There are real parallels here to The Trial, with Daniel prevented from appealing the outcome of his assessment until it is formally communicated to him by the mysterious, unreachable authority of the official assessor. With his appeal stuck in the purgatory of the interminable machinery of the Department for Work and Pensions, Daniel must participate in a charade of applying for jobs he is unfit to perform to avoid his social security payments being sanctioned.

While pursuing his quest for the elusive appeal, Daniel meets Katie and her daughter Daisy. They have been relocated from London to Newcastle as the only place where they could secure more than a studio apartment to live, only to find the place unsuitable for human habitation. Offering up his carpentry skills to help sort the place out, Daniel and Katie strike up a warm but uneasy friendship, hampered at times by the differences in their backgrounds and the choices they have to make to survive.

Daniel and Katie’s persistent attempts at mutual aid and human connection serve as the obvious counterpoint to the callous British state bureaucracy. I, Daniel Blake is not exactly subtle with its juxtapositions, with Daniel and Katie’s humanity and empathy frequently contrasted with the robotic indifference of various functionaries. Daniel in particular is presented as a more or less flawless human: a kind and caring old man, suffering emotionally and physically from the death of his wife, whose only fault is to have been left behind by the times and the state he expected to look after him. This bluntness is even more pronounced on stage, where emotion or exposition are delivered by exhortatory monologue, but unlike in the The Spy Who Came in from the Cold, here primary colour emotions serve a purpose and reinforce rather than detract from the potency of the play.

Because I, Daniel Blake is of course not about a man named Daniel Blake. It is about the 190,000 to 330,000 nameless victims killed by austerity. Daniel Blake does not exist to go on a hero’s journey, but to give a face to the faceless dead, hidden behind the convenient statistical euphemisms of ‘excess deaths’ and ‘increased mortality’. If Daniel Blake is improbably sympathetic, it is as a pre-emptive strike against the conservative’s justification that surely the poor must have brought their fate upon themselves. Against this claim, we invoke Stafford Beer’s dictum that, no:

The purpose of a system is what it does. There is after all, no point in claiming that the purpose of a system is to do what it constantly fails to do.

Thus, a ‘welfare’ system that routinely finds sick and disabled people fit to work and forces the unemployed to look for employment that doesn’t exist does not exist to deliver collective social security, but instead serves to protect the interests of an imaginary taxpayer and to maintain the reserve army of labour. As Stephanie Kelton pointed out, ‘natural’ unemployment and its attendant suffering is a policy choice, and yet we still blame those unable to find work for their predicament.

The irony of social realism is of course that it is more popular with the bleeding-heart progressive middle classes than with the working class that is its subject, and one assumes this is even more true for an art form such as theatre. Given the audience will likely have been familiar with the story, one can be forgiven for asking what the point is of bringing I, Daniel Blake to the stage a decade after the original.

I, Daniel Blake answers this challenge through a clever piece of self-referential staging, projecting on a banner over the stage snippets of parliamentary speeches given since the movie came out. We hear a coterie of politicians justifying austerity and, in one instance, even denouncing and deriding I, Daniel Blake itself. The point is resounding clear. Ten years later, the victims and their relatives have not had justice. The social murder perpetrated through austerity remains barely acknowledged, while its architects enjoy esteemed positions at the British Museum, prominent charities, or to launder the reputation of predatory social media. It is national amnesia, promoted by an unaccountable political class and facilitated by a compliant media, against which Daniel Blake stands, and continues to stand, to remind us that 330,000 victims were not blips on computer screens or national insurance numbers, but human beings. Daniel Blake cannot rest until justice is done, and neither should we.

Notes & Suggestions

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