@ Assembly Roxy, Edinburgh, until Thu 5 Nov 2015
An inglorious corner of Scottish history is the subject of Ben Blow’s new play for Black Dingo Productions. Giddy on the success of Bannockburn, and barred by truce from crossing the Tweed, the Scots under Bruce turn their attentions to Ireland, thinking to use their Gaelic brethren to help finish off the English. But it is the younger Bruce, Edward, ambitious brother of Robert, who hatches and executes the plan. With a gang of Ulster nobles at his side, he rampages and terrorises the land to no ultimate end but a “ring of tin” for his head as King of the Kings of Ireland.
Medieval though the story is, it’s modern dress for this production, directed by Kolbrun Bjort Sigfusdottir. Grim video clips of 20th century conflict form a backdrop, and it’s 20th century firearms in soldier’s hands. A sinister guitar instrumental soundtrack (Tom Oakes) backs the campaign. Damp, squelchy straw underfoot is the sole signifier of the play’s locale, setting us squarely in famine-ravished Irish bogland. It’s a nice touch that lends an earthiness to proceedings.
Equally squelchy and muddied is the power politics of the middle ages. Rival nobles all have agendas; it’s no simple matter of right versus wrong, and no glorification of the Scots cause is attempted. Instead, Blow’s play is a strongly-written, well-paced exploration of a faltering campaign, where ego, fate and luck all play a part. Gerry Kielty puts in a commanding performance as the young Bruce – cocky, savage and nihilistic. There’s something of Shakespearean tragedy about him. There’s maybe a faint trace of both morality plays and disaster movies in the mix too, as famine forces our cast to increasingly desperate measures.
Kielty’s dominance overshadows some of the supporting cast, whose faked accents occasionally strangle some of the dialogue, although he has a fine female foil in Kirsty Eila McIntyre as Failtrail, a milkmaid whose fatalism and cynicism allows her to survive the pillaging of her homeland to become consort.
The Bruce campaign makes ideal fodder for a play like this, and Blow’s script allows it to be clearly and boldly portrayed. Our finale leaves the Bruce’s ultimate destiny untold, but the audience will have been steered to their own strong conclusions about the man.
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