The Fringe is often criticised for the dominance of stand-up comedy and a sense that much of it is trivial. In contrast, Marlon Solomon’s updated Conspiracy Theory: A Lizard’s Tale deals with one of the most serious challenges we face; the rise and mainstreaming of conspiracism. The show is entertaining, informative, and deeply concerning.
Before Solomon reached the stage, conspiracy theory videos were playing on a loop. The audience chuckled along to the bizarre ideas being articulated. However, the message of the show is that the mainstreaming of conspiracism is no laughing matter and is having real world effects. Both on our public discourse and on the individual affected. A late arriving hen group was a slightly surreal touch, forcing Solomon to make clear that ‘I’m not a comedian… really I’m not!’.
He began by relating that while he was Jewish, his identity had only solidified in recent years as he started to explore conspiracy culture. Through studying it, it revealed that most conspiracy theories, at root, have anti-Semitic characteristics.
This is a theme that is highlighted on the excellent The New Conspiracist podcast. Most conspiracy theories, it emerges, have roots in anti-semitism and the foundational text The Protocols of the Elders of Zion. This bizarre (and fictional text) suggests that all serious problems in our society stem from the influence of the Jews. Only after reading this bizarre document could Solomon understand some of the strange comments he’d received over the years relating to blood libels and the like .
Solomon spends much of the performance speaking from the shadows, emphasising the notion of a shadowy cabal quietly in control of finance and key institutions. The show makes really skilful use of videos, with Solomon often in dialogue with himself on screen, playing a series of roles. A highlight saw Solomon put a range of nasty social media comments directed at him to a jaunty tune.
Solomon outlines the difference between event conspiracy theories (relating to explanations of individual events: 9/11, mood landings etc) and systematic conspiracy theories. The latter is the real hard stuff; an ideology in itself. It implies one highly competent malevolent force behind everything, pulling the strings. Solomon believes that David Icke has played a key role in bringing conspiracism towards the mainstream.
He is a ‘super conspiracist’, believing that one overarching conspiracy is behind everything bad. Jon Ronson first highlighted the anti-Semitic tropes embedded in much of Icke’s work. Solomon outlined, with well chosen clips, how this aspect has become much more evident and explicit. His use of the phrase Rothschild Zionists hardly obscured the hard line anti-Semitism.
This would not matter if he was still a Fringe figure. However media figures such as Russell Brand have helped him reach an even wider audience in recent years: Icke regularly sells out larger arenas on his speaking tours. What Solomon wished to emphasise was the real world effects. This included the murderer of the MP, Jo Cox. He had bought into conspiracy theories regarding the White Helmets in Syria of which Cox was a prominent supporter.
Solomon was particularly critical of certain elements on the progressive left who had a blind spot regarding anti-Semitism, echoing the arguments made by David Baddiel in his book Jews Don’t Count. Reasons for this included the way that Icke sometimes echoes those who are critical of neoliberalism and the power of finance capital. Where were the anti-racism protesters at David Icke events?, Solomon asked rhetorically. He suggested that if someone such as Tommy Robinson had said the same things as Icke, there would have been mass protests.
In the closing moments Solomon related that he had himself, after watching several 9/11 conspiracy videos (such as Loose Change), got drawn into that culture. He had seen how it had changed him and his relationships with friends. It shows how people can be susceptible to such ideas when their lives are at a low point.
Solomon brought the show to a finish by emphasising that conspiracism feeds off fatalistic pessimism and a sense that things can’t be changed for the better. It eats away at trust in government and politics, suggesting that social problems can’t be solved – and certainly not through democratic political means. At root it reduced the world’s complexity and implies that a doom-laden future inevitable. Solomon wanted to emphasise that, ‘good stuff is happening’ all around us.
As he noted afterwards, conspiracist culture has spread virulently in the wake of the pandemic. Its mainstreaming has become more and more evident. It has gone from being expressed in niche magazines and online forums to its tropes being regularly articulated on media outlets such as GB News, by presenters such as Beverley Turner and the archaeologist, Neil Oliver. This disturbing trend has been tracked by the likes of the culture broadcaster Matthew Sweet.
The audience was entranced throughout by Solomon’s highly engaging manner and well delivered narrative. It was emotionally affecting at several moments; especially several long pauses after some of the more extreme statements.
It was troubling for everyone in the room to hear horrific falsehoods about the Holocaust spouted with such confidence. The quiet rage was clear in Solomon’s voice and expressions. Conspiracy Theory: A Lizard’s Tale demonstrates that the Fringe does include shows dealing with the most urgent issues of the day.
Conspiracy Theory: A Lizard’s Tale, Marlon Solomon (Little White Pig, 26B Dublin Street, EH3 6NN).
Until 27 August 21 (not 14 or 21).
