@ King’s Theatre, Edinburgh, until Sat 30 Jan 2016

“For what shall it profit a man, if he shall gain the whole world and lose his own soul?”

Composer Stuart MacRae and author Louise Welsh first worked together in 2009 to create a 15-minute miniature Remembrance Day as part of Scottish Opera’s Five: 15 Operas Made in Scotland project. Based on Robert Louis Stevenson’s The Bottle Imp, published in 1891, their third collaboration together, The Devil Inside, draws on the tale’s themes and brings them to a 21st century audience, in a co-production with Music Theatre Wales. Returning with the same creative team behind Ghost Patrol and conductor Michael Rafferty, this is their biggest production yet.

It’s a Faustian tale, of two travellers James (Ben McAteer) and Richard (Nicholas Sharratt), interested in the darker side of our existence. As they come across an old man in his mansion, they learn that they too could be rich if they buy his bottle, as the Imp inside shall grant all their wishes. But, in return, the soul of those who die in possession of it, will be condemned to Hell. This poses a question that is recurrent in opera – can good come from evil? Gradually as their addiction and desires grow, the bottle loses value, as to sell it, it has to be for less than they paid.

In this smaller, economical production, the orchestra consists of only 14 players, but it opens up opportunity for solo instrumental scores which really carry Stevenson’s story and give it a new life. The music fills the room in equal amount to the voices, creating a dramatic, tense atmosphere that is also very intimate. It has repeatedly been commented on, by both those involved and observing, how surprising it is that nobody thought of creating an opera from this tale until now. But MacRae, whose music often draws on mythical characters, and librettist Welsh were the perfect duo to belt out the symbolism behind the short story.

Under Matthew Richardson’s direction, tenor Sharratt is utterly convincing as the disturbed Richard and Steven Page gives two admirable performances, both as the old man in the beginning and vagrant in the end. 2015/16 emerging artist McAteer takes centre stage alongside mezzo-soprano Rachel Kelly, making her company debut as Catherine. Her aria in scene four is a captivating highlight of the production in terms of both performance and writing, which although simple is poetic. Not to forget the Imp, a character in itself, its intimidating presence created by the ambience in the theatre, the accompanying music and the minimalist yet evocative set design by Samal Blak consisting of the luminous green bottle and a Rorschach blotted backdrop – a shadowy, symbolic low-budget mise-en-scène that manages to engulf the theatre. Even if you have visited many times before, you feel as though you have entered a different land in which this magical tale was set.