Religious fundamentalism has been one of the predominant scapegoats of the noughties, due to the simplistic viewpoint that it alone is responsible for the decade’s disasters. It’s a belief that plays right into the hands of reactionaries, who would have us believe terrorism is born more of the Koran than of the capitalistic exploitation many of its subscribers have suffered. It’s in exploring this latter complexity that makes this production of James Hogg’s 1824 satire on Calvinist fanaticism infinitely more insightful than Richard Dawkins.

What’s most admirable about Thomson’s adaptation is the preservation of complexity

Bookended by a modern day exhumation of a grave, we’re transported to Edinburgh in 1704, where a Calvinistic repression stands in tense opposition to sensual decadence. Under the belief that he is predestined for Heaven, Robert Wringham (Ryan Fletcher) is convinced by the maybe-devil/maybe-doppelganger Gil-Martin (Iain Robertson) that he should carry out the good Lord’s work, namely killing sinners.

Wisely eschewing the novel’s multi-perspective narrative, adapter/director Mark Thomson instead allows the ambiguity of the piece to unfold through smoky atmospherics and Fletcher’s edgy, disturbed portrayal, itself complemented well by Robertson’s charismatic moral certainty. Neil Murray’s revolving set, dotted with ominous monoliths, adds to a sinister tone that’s weakened only by a slightly monotonous score of doomful staccato strings. What’s most admirable about Thompson’s adaptation is the preservation of a complexity that lends itself to wildly different readings. Freudians will point to Wringham’s sexual repression and death-drive as motivating factors, others to economic envy, since in killing his half-brother Wringham acquires his wealthy estate. Most, though, will appreciate the way in which it demonstrates how religious doctrines can be twisted to justify atrocities, which is indeed a timely and important issue, so long as we remember that it’s not only religion that can be used in this way. It is, afterall, in the name of spreading democracy, not religion, that we rationalise our continued presence in the Middle East.

Playing until 7 Nov

Watch trailer here