TERF
August 4-7, 11-25 - Assembly Rooms Ballroom "TERF," the bold and brave new play making its debut at the Edinburgh Fringe Festival despite a last-minute cancellation by the original venue, is the brainchild of writer and director Joshua Kaplan. Kaplan dives deep into the turbulent aftermath of J.K. Rowling’s public comments on gender identity, examining the rift between the author and the key actors from the Harry Potter films. The play is to be admired for its bold choice to use real names, refusing to hide behind fictionalised characters and trying to thread that needle. By confronting the real-life comments and individuals at the heart of the story, "TERF" in true Fringe style invites the audiences to engage with the complex realities rather than a safe, watered-down narrative where no one is appeased in the end. It is an equally brave and commendable choice, especially because members of the production team have faced death threats, with the harassment even extending to the producer’s mother. No one should ever have to endure such extreme and violent reactions simply for creating a piece of theatre, and this courage in the face of intimidation only underscores the play's commitment to addressing difficult and urgent conversations head-on. The reunion of J.K. Rowling with the key principals of the Harry Potter series—Daniel Radcliffe, Emma Watson, and Rupert Grint—brims with tension and grievance. Rowling's sustained and aggressive campaign towards transgender people has cast a long shadow over their relationships. This gathering could be an almost alternative history after the HBO Max documentary Return to Hogwarts in 2022 where Rowling's appearance was limited to archival footage, following the backlash against her views and not for the first time labelled ungrateful for not supporting her. Now we're in a room where they are reunited and Radcliffe, Watson, and Grint—each having used their platforms to support the trans community—are now caught in the crossfire, bearing the emotional and professional brunt of Rowling’s indiscretions. Despite their many differences in the show and life they still stand in solidarity in stark contrast to the author’s polarising stance, as they navigate the uncomfortable reality of being tethered to a legacy marred by controversy. Throughout the reunion there are flashbacks to Rowling's troubled history with her father, publisher, and ex-husband, while compelling on their own, diluting the more powerful narrative of her conflict with the cast. These backstories, though they reveal a pattern of difficult relationships with men, do little to justify or explain her descent into a rhetoric of hate against the trans community. Instead, they risk overshadowing the more pressing and resonant drama in the reunion. The play at its best delves into the complexities of loyalty, found family, public image, and the painful clash between personal beliefs and professional ties against an entitled creator. By exploring these themes, 'TERF' sheds light on the ethical dilemmas faced by those whose personal values are at odds with the figure who shaped their careers and looms large, revealing the nuanced and often painful reality of staying true to oneself in the face of intense public scrutiny . This struggle mirrors the experiences of the trans community, who, in advocating for their rights and identities, also face significant personal and societal challenges from the same individual. 4/5 Lee Hutchison |