Showing @ Festival Theatre, Edinburgh until Fri 22 Aug @ times vary (run ended)
‘The 99%’ has become somewhat of a slogan of the post-2008 demonstrations against austerity. Though the rift continues to grow, it is nothing compared to the rich/poor divide of previous centuries. Here, director Laurie Sansom’s James III (Jamie Sives) is not a king who listens to advice. Early exposition enlightens us of how he ignores parliament in order to pursue the activities he prefers – after all he is the king. The only problem is his hedonistic personality has nurtured many feelings of resentment within his court and his people, and these bubble over in the course of the show.
If James I felt ruggedly medieval and James II sinister and Gothic, James III at last feels warm and inviting. The industrial sweep of the stage has been softened by a golden floral pattern that decorates the stretch of wooden panelling providing a back wall to the stage. The opening scenes are doused in dappled sunlight and there are songbirds accompanying the onstage live music. Even the giant sword penetrating the stage has been given a gilded handle. All this gives an indication of how much more refined the tastes of this generation of Scots has become.
This is particularly reflected in the costumes. The tailoring has become about style rather than warmth or comfort seen in architect Cochran’s (Andrew Rothney) tartan suit and Queen Margaret’s (Sofie Gråbøl) exquisitely embroidered dresses. This taste for modern finery runs through the script as it becomes a point of disgruntlement – the disparity between the king’s wealth and the poverty of his people – and, upon returning her jewels, is later a symbol of Queen Margaret’s dedication to her adopted nation. It’s a theme that speaks directly to the Etonian alumni in Westminster.
Sives is fair as the belligerent, obnoxious and unapologetic James III, who has something of an effeminate rock star about him (perhaps Mick Jagger) – with his tight trousers, confident swagger and fuck-you attitude. However, it is Gråbøl’s matriarchal Queen Margaret that is most impressive. It is her play in every sense other than the title. Though berated by her juvenile husband, she never allows herself to be viewed as vulnerable – most notable in her climactic speech to parliament, as admissible to our own Union as at the head of any 15th century roundtable.
At times, the script descends into a kind of sitcom as cheap gags are repeatedly pounced on and it focuses on the internal family conflict, rather than the political disillusionment of Scotland’s wealthiest families, diluting the grandeur of the topic and eroding its historical ambiance. It also struggles to create tension, making it difficult to care about the effects of James’ substandard reign. There are some nice elements, particularly in the design and Sansom’s creative use of the space gives it a bouncing energy, but overall it’s lacking the same punch that made James I so exciting.
Showing as part of the Edinburgh International Festival 2014