Showing @ Festival Theatre, Edinburgh until Wed 20 Aug @ times vary

As Scotland gets ready to make history, its never been a better time to familiarise yourself with its past. Eighteen years after his capture and imprisonment aged twelve, James Stewart is freed by Henry V and sent to claim his rightful inheritance – the crown of Scotland. But becoming a monarch isn’t easy: some powerful Scots (including his own family) don’t respect him, his newly wed bride is resentful and frightened and the country’s coffers are empty. James must assert his authority or risk being overthrown.

Jon Bausor’s stark and intimidating set dominates the view in a panoramic sweep of cold, metallic fortification – evoking the same feelings of miniscule insignificance as those who peer up at Edinburgh Castle. Despite its titanic presence, its simple design allows Rona Munro’s script to take centre stage. Munro has obviously done her research and the historical exposition threaded through the script allows those unfamiliar with the period to contextualise the action – though she does admit to a touch of factual tinkering. But this is no BBC4 documentary. Munro’s text also includes some enchantingly colourful phrases – particularly from Sarah Higgins’ feisty handmaid Meg – that provide humour and give it a resemblance of the ancient Celtic folk songs that pockmark the piece. The language is a enticing combination of old and new, so it has the historic tone of Shakespeare without the impenetrability.

Laurie Sansom’s direction delightfully spills across the stage. Scenes of boisterous bravado bubble with frenetic energy and the choreographed violence, injecting excitement into the history lesson, is performed with enough finesse to avoid being hammy. The stylised climactic battle is a particularly smart way of staging the frenzied fight. Even the slower, passive dialogues are crafted with such intimacy they hold attention – impressive when the looming set dwarfs those acting them. This first in The James Plays trilogy does everything you would expect of it: It has ceremony, conflict and romance, and it does these all well. But most of all it is packed with fiery Salmond-pleasing patriotism.

Showing as part of the Edinburgh International Festival 2014