2013
THE NATIONAL THEATRE OF SCOTLAND IN 2013 An adaptation of a spooky movie. A Scottish classic revisited. A promenade performance for the over sixes. Three world premieres by Chinese writers. You’ll find all of this in the 2013 programme of the National Theatre of Scotland, not to mention shows about a feat of singlehanded road building, about a boy who befriends a dragon, about what happened after the death of Macbeth and about a forgotten theatremaker from the 1980s.
This is exactly as it has been since the launch of the “theatre without walls” in 2006. Described by The Scotsman as “an iconic 21stcentury institution”, the National Theatre of Scotland has made it its mission to reach as wide an audience in as many places with as many tastes as possible. It was the first national theatre company to take the radical decision not to have its own building and to exist as an entirely touring company. It’s a policy that has freed the company to take work all over Scotland and beyond, from theatres and major venues to village halls, tower blocks, forests and car parks.
ALL OF SCOTLAND IS OUR STAGE
There is more besides in a programme that takes place everywhere from Ullapool to New York City, Bathgate to Seattle, Dumfries to San Francisco, Arbroath to Birmingham.
Whether you like comedy, drama, politics, folk, adventure, experiment, participation or classics, the National Theatre of Scotland has just the event for you.
In a single year, it has worked with over 10,000 young people from across Scotland’s communities, engaging them in projects that build confidence and transform lives. Everything the National Theatre of Scotland receives goes directly into creating brilliant Scottish theatre, supporting new work and nurturing talent. It’s a commitment that has earned the company an international reputation for creating theatre that is contemporary, confident and unforgettable.
COUNTDOWN TO SOME FABULOUS INTERACTIVE FUN If you liked the children’s storybook by Neil Gaiman and Dave McKean, you’ll love this interactive promenade production by Lu Kemp and Abigail Docherty. Working with playwright Oliver Emanuel, they are staging a show for everyone over the age of six in which anything could happen. Here’s how it looks in numbers.
1000 60 40 3 2 1
The number of multi-coloured stickers that will be used in the weekly Swap Shop events wherever the show travels. Every Saturday, children can bring a toy or a book to swap for other items on the swap table. Supported by Mackies, the Swap Shop is an environmentally friendly way to recycle your toys. The number of mini-sound recorders the National Theatre of Scotland has purchased for use in the workshops that accompany the show, which takes place in a series of rooms throughout each theatre – no two performances will be quite the same. The number of National Theatre of Scotland workshops led by Eilidh MacAskill and Fiona Manson taking place in Scottish primary schools. The number of oven gloves taking on a whole new identity in each workshop. The number of goldfish swapped by Nathan in exchange for Neil’s dad. The number of electric guitars given to Nathan by Vashti in exchange for the dad he was given by Neil. Now it’s your turn to help get Neil and his sister get their dad back.
Support We are offering a limited number of free workshops to primary schools that book to see the show. Never again will you look at an oven glove in the same light! Visit our website for our teachers resource pack available from May 2013. Families Swap Shop Saturdays, 12–1.45pm Come and swap a toy, a book or even a dad at our free Swap Shop event every Saturday (and also Sunday at Howden Park, Livingston) during the tour in each venue. For more information contact Gillian Gourlay – 0141 221 0970. The Day I Swapped My Dad for Two Goldfish By Neil Gaiman and Dave McKean, in a new adaptation created by Lu Kemp and Abigail Docherty Written by Oliver Emanuel and directed by Lu Kemp
The Beacon Arts Centre, Greenock 25th to 27th April Howden Park Centre, Livingston 2nd to 5th May National Museum of Scotland, Edinburgh Imaginate Festival 8th to 11th May Macrobert, Stirling 15th to 18th May Tron Theatre, Glasgow 22nd to 25th May
#2GOLDFISH
As ever, the National Theatre of Scotland is working in collaboration with the finest of Scottish talents, including Vox Motus, Communicado, Dundee Rep, London’s Royal Court, Glasgow’s Arches and A Play, a Pie and a Pint, as well as a group of up-andcoming theatremakers.
The company employs over 600 people a year, creating opportunities for writers, actors and theatremakers of all disciplines to find work here in Scotland.
THE DAY I SWAPPED MY DAD FOR TWO GOLDFISH
Eden Court, Inverness 29th May to 1st June Scottish Premiere Produced by the National Theatre of Scotland For full details visit www.nationaltheatrescotland.com #2Goldfish
CALUM’S ROAD A MODERN-DAY LEGEND
“The story told here is of such wisdom and significance that it… moves many in the audience to tears” – Joyce McMillan, The Scotsman
Communicado Theatre Company and the National Theatre of Scotland present Calum’s Road Adapted by David Harrower, from the book by Roger Hutchinson. Directed by Gerry Mulgrew Calum’s Road Gaiety Theatre and Arts Centre, Ayr 17th and 18th May Beacon Arts Centre, Greenock 22nd May
Presented by the National Theatre of Scotland in partnership with Òran Mór in association with the Confucius Institute for Scotland in the University of Edinburgh. Supported by SaiTa (Beijing) Culture Ltd For full details visit www.nationaltheatrescotland.com
“I wrote a play for Glasgow’s Royal Conservatoire which was taken to an international student theatre festival in Beijing. Very quickly, I got into conversations with amazing theatre directors over there. I went back to the Beijing Fringe Festival and one of my questions after seeing lots of shows was: “Where are the new writers?” There are lots of directors who make their own work, but it took a big effort to find writers. Once we teamed up with the National Theatre of China, however, we were inundated and there were loads of writers who wanted to take part in our workshop. “New Plays from China is the third international season of lunchtime plays in A Play, a Pie and a Pint at Glasgow’s Òran Mór. The three plays are adapted by Scottish playwrights to bring them closer to what a Chinese audience would experience. It means giving them our own personal voice and making the language sing in the mouths of the actors. “They’re all writers with something burning inside them. Rona Munro felt a real attachment to Secrets by Lin Weiran, an intimate play about a doomed love affair, because it’s beautifully subtle and nuanced. I’m working on Thieves and Boy by Hao Jingfang which is about two construction workers who take it upon themselves to get financial compensation for one of their mates by breaking into the house of a government official and trying to steal his money. And Fox Attack by Xu Nuo, adapted by Catherine Grosvenor, is about a student at the top music conservatoire in China who commits a terrible crime and covers it up. It’s wonderful to get access to stories we don’t often see on the Scottish stage – and for these writers to get access to new audiences.”
#NewPlaysChina
Secrets by Lin Weiran Adapted by Rona Munro Directed by Graeme Maley Òran Mór, Glasgow 22nd to 27th April Bedlam Theatre, Edinburgh 30th April to 4th May
Theatre Royal, Dumfries 25th May Perth Theatre, Perth 28th and 29th May Brunton Theatre, Musselburgh 31st May and 1st June
Thieves and Boy
Webster Memorial Theatre, Arbroath 4th June
by Hao Jingfang Adapted and directed by Davey Anderson
Traverse Theatre, Edinburgh 6th to 8th June
Òran Mór, Glasgow 6th to 11th May
Adam Smith Theatre, Kirkcaldy 11th and 12th June
Regal Theatre, Bathgate 12th May
Ryan Centre, Stranraer 15th June
Bedlam Theatre, Edinburgh 14th to 18th May
Eden Court, Inverness 18th and 19th June Macphail Centre, Ullapool 21st June, Sabhal Mòr Ostaig 25th June
Fox Attack
Macrobert, Stirling 28th June
by Xu Nuo Adapted by Catherine Grosvenor Directed by Amanda Gaughan
For full details visit www.nationaltheatrescotland.com #CalumsRoad
Òran Mór, Glasgow 27th May to 1st June
#NewPlaysChina
#CALUMsroad
You can only admire the tenacity of Calum MacLeod. He was the resident of Raasay who got so fed up waiting for the council to build a two-mile stretch of island road between South Arnish and Brochel Castle that he did it himself. Roger Hutchinson told his single-handed story in a book, Calum’s Road, which is adapted for the stage by playwright David Harrower and Communicado director Gerry Mulgrew for an ensemble performance that is alive with music, poetry and the infectious power of crazy ambition.
NEW PLAYS FROM CHINA
Writer and curator Davey Anderson talks about finding a new generation of playwrights in Beijing
DRAGON WORDLESS MAGIC FROM THE EAST
LARGE-SCALE TRIUMPH MARCHES ON
“Eastern dragon philosophy is very different to Western dragon myths where the dragon is always slain at the end,” says Edmunds. “In China, they’re the dragon people, and the dragon is a deity and a life force. We were very influenced by that.” Dragon is about a 12-year-old boy called Tommy whose mother has died a year earlier. Since then, he hasn’t had an outlet for his anger and grief. “The dragon is a metaphor for all the emotions he is feeling, both in positive ways and negative ways,” she says. “The dragon is a force for restoring balance.”
As well as appealing to the regular Vox Motus audience, Dragon is being designed with younger audiences in mind. Just to stretch their stage skills further, Edmunds and Harrison are telling the tale without using dialogue. The brief to playwright Oliver Emanuel was to write a story not a script. Thanks to the company’s patent brand of theatrical magic, it means a single sentence can morph into a whole sequence using movement, puppetry and transformational set pieces. “What is left are the spaces in between where Jamie and I tell the story visually,” she says. “We’re influenced by graphic novels and the way the pace is set through the layout on the page. Our dragon is Eastern influenced, although he’s very much a creature of our own imaginings. This is a dark, exciting story full of magic and imagination. The relationship between Tommy and his dragon is at the heart of that. There is something in there for theatre-lovers of all ages.”
Support For more information on our exciting Learn activity especially created for this production visit our website from August. Dragon Conceived by Jamie Harrison, Candice Edmunds and Oliver Emanuel. Directed by Candice Edmunds and Jamie Harrison. Written by Oliver Emanuel. Citizens Theatre, Glasgow 11th to 19th October Eden Court, Inverness 22nd to 26th October Traverse, Edinburgh 30th October to 2nd November The Quay, The Lowry, Salford 8th and 9th November World Premiere Presented by Vox Motus, the National Theatre of Scotland and Beijing Children’s Art Theatre For full details visit www.nationaltheatrescotland.com
It’s arguably the National Theatre of Scotland’s most successful show. Since 2006, this portrait of the ancient Scottish regiment in action on the battlefields of Iraq and the drinking dens of Fife has toured the world several times over, receiving wild acclaim wherever it goes. Written by Gregory Burke and directed by John Tiffany, Black Watch is spectacular, funny, urgent and heartbreaking. “Arrives like a blazing redeemer . . . a cause for hope”—Ben Brantley, New York Times
Black Watch By Gregory Burke, directed by John Tiffany American Conservatory Theater at the Mission Armory, San Francisco 9th May to 16th June Produced by the National Theatre of Scotland For full details visit www.nationaltheatrescotland.com #BlackWatch
#NTSDragon
#BLACKWATCH
BLACK WATCh
There are dragons and there are dragons. When Jamie Harrison and Candice Edmunds of Vox Motus decided they’d like to do a show about a dragon, they were thinking of the kind of creature that would crop up in Harry Potter or How to Train Your Dragon. That was before they went on a research trip to Beijing. Suddenly they realised how much more interesting it would be to create an eastmeets-west dragon.
#NTSdragon
PAUL BRIGHT’S CONFESSIONS OF A JUSTIFIED SINNER Reconstructing Scotland’s forgotten theatre history
Not all stories get heard, however. When, for example, we tell the story of Glasgow’s year as City of Culture in 1990, we tend to forget the contribution made by Paul Bright. He was a theatre artist who busied himself in the late 80s on small-scale projects that often slipped under the radar. Even some of his large-scale work for high-profile festivals is forgotten. So while we remind ourselves of the visit of Peter Brook’s mighty Mahabharata, the nine-hour Hindu epic that gave birth to the Tramway in 1988, we scarcely even remember the equally adventurous events that Bright was putting on in non-traditional venues at around the same time. So it is in a spirit of theatrical archaeology that Stewart Laing’s Untitled Projects is teaming up with the National Theatre of Scotland to reconstruct one of Paul Bright’s key shows, Confessions of a Justified Sinner. “I think people slip through the cracks,” says Laing. “The establishment narrative about Scottish theatre is all about playwriting, but what’s interesting is there is a history of directors in Scotland. Someone like Lindsay Kemp, a world-class director and choreographer, is missed out of narratives – so too is Ken Davidson, a fascinating artist.” The project is being driven by actor George Anton who performed in some of Bright’s shows before the director’s mysterious disappearance in the early 1990s and death in Belgium in 2010. “It’s George’s own journey of exploration into his past and his relationship with Paul Bright, who none of the rest of us knew or met,” says Laing. “I have a very vague memory of his Confessions of a Justified Sinner happening. I was working at the Citz in the late 80s and know George from then and I was vaguely aware that George was doing this thing outside the Citz.” In this revealing solo show, Anton takes the audience on a journey through the business of theatre and into his own past. It’s as much about Anton’s voyage of discovery, with all its unexpected and
often funny turns, as it is a trawl through Bright’s fragmentary archive. Reconstructing Confessions of a Justified Sinner, an adaptation of the James Hogg novel, has not been straightforward because, in the pre-digital, pre-internet era, relatively little theatrical material was archived. “We’re trying to piece together what these performances were like from fragments of archive,” says Laing. “There are scraps of information, pictures and little bits of film – and two people who saw the same performance are telling us very different things.” The project is making Laing, who worked as a designer at the Citizens Theatre, think again about his own sense of history. “I thought I was involved in the most interesting theatre happening in Scotland, but now I’m completely reassessing that, finding out about all the other theatre that was happening.” It’s making him think too about the story we tell about how the City of Culture accolade turned Glasgow from a city of knife crime into a place of wine bars and coffee shops. “There’s a common narrative that performance in Scotland exploded after 1990 – that’s when Suspect Culture and Theatre Cryptic came about,” he says. “But the reason Glasgow became City of Culture was that there was amazing culture here already. This project is about exploring alternative histories of what Scottish theatre was.” Paul Bright’s Confessions of a Justified Sinner Tramway, Glasgow 14th to 29th June World Premiere Reconstructed by Untitled Projects in a co-production with National Theatre of Scotland and Tramway Untitled Projects is supported by the Paul Hamlyn Foundation Breakthrough Fund For full details visit www.nationaltheatrescotland.com #NTSsinner
Raising the bar Clear the decks for a supernatural story like no other. This hilarious and spooky show is performed in your local pub, the actors and musicians rubbing shoulders with the audience as they recreate the atmosphere of a snow-bound Borders boozer. With witty rhymes by playwright David Greig and inventive direction by Wils Wilson, The Strange Undoing of Prudencia Hart tells the story of a specialist in Scottish folklore who gets drawn into a creepy underworld adventure.
“You shouldn’t miss this show for the world . . . rambunctiously lifeaffirming and touchingly beautiful” – Neil Cooper, The Herald
The Royal Court Theatre presents the National Theatre of Scotland’s production of The Strange Undoing of Prudencia Hart Created by David Greig (Writer) and Wils Wilson (Director) London Welsh Centre 12th July to 3rd August CLF Art Café, Bussey Building, London 5th to 9th August For full details visit www.nationaltheatrescotland.com #PrudenciaHart
#prudenciahart
#NTSSINNER
Stories help us make sense of the world. Whether it’s a story in a newspaper, the story in a favourite book or the story of our life, we rely on them to give us the appearance of order.
THE STRANGE UNDOING OF PRUDENCIA HART
Let the Right One In BIG-SCREEN CHILLER ON STAGE
#LETTHERIGHTONEIN
Let the Right One In Dundee Rep Theatre 5th to 29th June World Premiere Presented by National Theatre of Scotland by arrangement with Marla Rubin Productions Ltd and Bill Kenwright, in association with Dundee Rep Theatre. A stage adaptation by Jack Thorne based on the Swedish novel and screenplay of the film by John Ajvide Lindqvist, directed by John Tiffany. For full details visit www.nationaltheatrescotland.com #LetTheRightOneIn
Eli is hundreds of years old and drinks blood to stay alive. This strange creature avoids daylight and moves as though free from gravity. Yet to call Let the Right One In a vampire story seems odd. There’s more to this haunting tale than just another episode of Buffy. That’s why when you talk to the team adapting John Ajvide Lindqvist’s novel for the stage, they prefer to call it a love story – albeit one with a vampire at its heart. “It’s about trust, which is one of the most fundamental things you require in your life,” says writer Jack Thorne. “Without trust, even love doesn’t have any substance.” Steven Hoggett, the associate director, agrees: “In an age of Twilight, this is actually a lot more complex and a lot more human.” Published in Sweden in 2004, the novel tells the story of Oskar, a 12-year-old boy living in a nondescript suburb of Stockholm where he tries to avoid his bullying schoolmates. In a conventional horror story, he would take fright when the mysterious Eli moves in next door. Instead, he befriends this stranger. Eli, in turn, lends him supernatural support against his tormentors. “I knew it could work on stage because of those beautiful scenes about this developing relationship,” says director John Tiffany. “They feel like they belong on stage.” The novel was a best-seller in Sweden and was quickly made into two movies. First, there was Tomas Alfredson’s atmospheric Swedish-language thriller, then came an American version, retitled Let Me In and set in a wintry New Mexico. As Lindqvist’s fans already have three versions to choose from, the team felt free to tell the story in their own way. “If you listen to the commentary on the Swedish film version, a lot of it is about the choices they made from the book to the film,” says Hoggett. “So you’re aware of the rich process this creative team went through to make it a visual event. Then you watch the American version and it’s different again. If ever there was one book that allowed itself to be opened out, it’s this. It has this capacity to flex without losing the quality that makes it unique.”
In this production, names are remaining Swedish, but the look and sound of it are Scottish. Tiffany found it easy to imagine this modern-day fairy story taking place in a town like Dundee. Indeed, it was the atmosphere of the setting that attracted the director to the story in the first place. “The apartment blocks with this climbing frame… the snow lit by orange sodium light … next to the woods… It felt as though it would fit beautifully in Scotland,” he says. This then, is where we’ll find that unusual thing: a horror story that doesn’t try to scare us. “I would say in this play, we breathe out more than we breathe in,” says Thorne. “It’s a tender horror – and it’s more tender than it is horrifying.” Other Inspired by the forthcoming production of Let the Right One In and by the city of Dundee itself, the National Theatre of Scotland’s Other project will lead to the creation of a free smartphone app to take you on an eerie, sound-led journey through the other Dundee. In partnership with award-winning Dundee-based digital games development studio Quartic Llama and in association with Dundee Rep, the National Theatre of Scotland’s Learn department is working across a range of artforms with community groups, high school pupils and students from the University of Abertay, Dundee College and the University of Dundee to create a portfolio of Dundee-inspired stories, games, music and short films. The project will culminate in a weekend of immersive street-theatre performances, taking audience members on a sinister journey through some of the locations featured in the app. For more information and to keep up to date with Other, please go to: www.otherdundee.com
MAY Black Watch American Conservatory Theater at the Mission Armory, San Francisco 9th May to 16th June Macbeth Ethel Barrymore Theatre, New York City Until 30th June Calum’s Road Gaiety Theatre and Arts Centre, Ayr 17th and 18th May Beacon Arts Centre, Greenock 22nd May Theatre Royal, Dumfries 25th May
JULY Perth Theatre, Perth 28th and 29th May Brunton Theatre, Musselburgh 31st May and 1st June The Day I Swapped My Dad for Two Goldfish Howden Park Centre, Livingston 2nd to 5th May National Museum of Scotland, Edinburgh Imaginate Festival 8th to 11th May
New Plays from China: Thieves and Boy Òran Mór, Glasgow 6th to 11th May
The Strange Undoing of Prudencia Hart London Welsh Centre 12th July to 3rd August
Regal Theatre, Bathgate 12th May Bedlam Theatre, Edinburgh 14th to 18th May
AUGUST
Dunsinane His Majesty’s Theatre, Aberdeen 3rd to 7th September
Ménage à Trois Paterson’s Land, Edinburgh (Venue #247) 9th to 25th August
Theatre Royal, Glasgow 10th to 14th September
Arainn Shuaineirt/ Sunart Centre, Strontian 7th September
Oxford Playhouse 17th to 21st September
Ardgay Village Hall 9th September
Birmingham Repertory Theatre 24th to 28th September
Torridan Village Hall 11th September
CLF Art Café, Bussey Building, London 5th to 9th August
Macrobert, Stirling 15th to 18th May
Culloden Battlefield Visitor Centre 6th September
Dunsinane Eden Court, Inverness 24th to 31st August
The Strange Undoing of Prudencia Hart London Welsh Centre 12th July to 3rd August
New Plays from China: Fox Attack Òran Mór, Glasgow 27th May to 1st June
SEPTEMBER
A Little Bird Blown Off Course Eun Bheag Chanaidh Pìos de dhràma ciùil ùr le Fiona J NicChoinnich
MacPhail Centre, Ullapool 12th September Strathpeffer Pavilion 13th September
St Peter’s Hall, Daliburgh, South Uist 4th September
Tron Theatre, Glasgow 22nd to 25th May Eden Court, Inverness 29th May to 1st June
2013 LISTINGS JUNE
Calum’s Road Brunton Theatre, Musselburgh Until 1st June Webster Memorial Theatre, Arbroath 4th June Traverse Theatre, Edinburgh 6th to 8th June Adam Smith Theatre, Kirkcaldy 11th and 12th June Ryan Centre, Stranraer 15th June Eden Court, Inverness 18th and 19th June
OCTOBER
Macphail Centre, Ullapool 21st June Sabhal Mòr Ostaig 25th June Macrobert, Stirling 28th June The Day I Swapped My Dad for Two Goldfish Eden Court, Inverness Until 1st June Let the Right One In Dundee Rep Theatre 5th to 29th June
NOVEMBER
Macbeth Ethel Barrymore Theatre, New York City Until 30th June
Dragon Citizens Theatre, Glasgow 11th to 19th October
Dragon Traverse, Edinburgh Until 2nd November
Eden Court, Inverness 22nd to 26th October
New Plays from China: Fox Attack Òran Mór, Glasgow Until 1st June
Traverse, Edinburgh 30th October to 2nd November
The Quay, The Lowry, Salford 8th and 9th November
Paul Bright’s Confessions of a Justified Sinner Tramway, Glasgow 14th to 29th June
Dunsinane King’s Theatre, Edinburgh 1st to 5th October Bath Theatre Royal 8th to 12th October
In Time o’ Strife Pathhead Halls, Kirkcaldy 2nd to 12th October
DUNSINANE First among sequels
The English army is trying to establish King Malcolm on the throne while keeping the locals happy. The peacekeeping force seems to mean well but, thanks to ancient clan loyalties and Scotland’s unforgiving terrain, the situation is more complicated than it looked from outside. There’s a guerrilla uprising to contend with and the troops are short on experience. “Tell the men we’ll be in Scotland a little longer than expected,” goes the order.
With Siobhan Redmond’s Gruach (aka Lady Macbeth) making things as awkward as possible for the occupying forces, the play is full of resonances with wars in our own time. From the writer of Midsummer and The Strange Undoing of Prudencia Hart, it is a funny and thorny drama about what happens when one nation presumes to occupy another.
Dunsinane By David Greig. Directed by Roxana Silbert Eden Court, Inverness 24th to 31st August
“A triumph . . . Roxana Silbert’s supple production is beautifully acted . . . engaged, articulate, provocative entertainment” The Times
Oxford Playhouse 17th to 21st September
Support For more information on our exciting Learn activity especially created for this production visit our website from August. For full details visit www.nationaltheatrescotland.com #Dunsinane
His Majesty’s Theatre, Aberdeen 3rd to 7th September Theatre Royal, Glasgow 10th to 14th September
#DUNSINANE
Few plays can rival the success of Shakespeare’s Macbeth, yet it took 400 years for someone to write a follow-up. First staged by the Royal Shakespeare Company, David Greig’s Dunsinane is about the aftermath of the famous tyrant’s defeat in 11th century Fife. Shakespeare made it seem like Macbeth’s death was the end of the story, but Greig wittily suggests the problems were only just beginning.
Birmingham Repertory Theatre 24th to 28th September Kings Theatre, Edinburgh 1st to 5th October Bath Theatre Royal 8th to 12th October Presented by the National Theatre of Scotland and the Royal Shakespeare Company.
A Little Bird Blown Off Course #NTSLittleBird
Celebrating the life and Gaelic song collection of Margaret Fay Shaw, A Little Bird Blown off Course is a new piece of music theatre by Fiona J Mackenzie, presented by the National Theatre of Scotland and Blas Festival in partnership with the National Trust for Scotland. Margaret Fay Shaw was one of the most notable and important collectors of authentic Scottish Gaelic song in the 20th century, even though her name may not be well-known outside of traditional music circles. Born in Glenshaw, Pennsylvania USA, Margaret came to Scotland as a teenager and spent a year at school in Helensburgh. She went on to study music in Paris and New York, but returned to Scotland and eventually settled on South Uist. Whilst living there, she met the Gaelic scholar John Lorne Campbell and they married in 1935. For the rest of their lives, the couple were to dedicate themselves to the collecting and preserving of Gaelic songs and folklore for future generations. Lifting extracts from Margaret’s autobiography, letters, personal photography and previously unseen film footage of island life, A Little Bird Blown off Course will cast fresh light on the importance of this collection to Gaelic culture past and present, and examine the role new Gaelic speakers play in reinvigorating the language. The production will feature live music and song, including extracts from the Gaelic song collection that Margaret and John created and preserved and that form the rich legacy they have bequeathed to Scotland. The creation of A Little Bird Blown Off Course has been led by Fiona J MacKenzie, the BBC Scotland Traditional Music Personality of the Year (2004) and winner of the Burnsong International Songwriting Competition (2009). Fiona is the National Theatre of Scotland’s Gaelic Associate.
EUN BHEAG Chanaidh
A Little Bird Blown Off Course A new piece of music theatre by Fiona J MacKenzie
Eun Bheag Chanaidh Pìos de dhràma ciùil ùr le Fiona J NicChoinnich
St Peter’s Hall, Daliburgh, South Uist 4th September
Talla Naomh Peadair, Dalabrog Uibhist a’Deas, 4 Sultain.
Culloden Battlefield Visitor Centre 6th September
An t-Ionad-tadhail Bhlàr Chùil Lodair 6 Sultain
Arainn Shuaineirt/ Sunart Centre, Strontian 7th September
Àrainn Shuaineirt, Sròn an t-Sithein 7 Sultain
Ardgay Village Hall 9th September
Talla Ard Gaoithe 9 Sultain
Torridan Village Hall 11th September
Ionad Choimhearsnachd Toirbheartan 11 Sultain
MacPhail Centre, Ullapool 12th September
Ionad Mhicphàil, Ulapul 12 Sultain
Strathpeffer Pavilion 13th September
Pùball Srath Pheofhair 13 Sultain
Presented by the National Theatre of Scotland and Blas Festival in partnership with the National Trust for Scotland. Supported by Creative Scotland, The Turtleton Trust, The Canna Discretionary Trust, Bord na Gaidhlig, Tobar an Dualchais and the Canna Collection
Air a thaisbeanadh le Theatar Nàiseanta na h-Alba agus Fèis Blas ann an com-pàirteachas le Urras Nàiseanta na h-Alba. Tha Eun Bheag Chanaidh air taic fhaighinn bho Alba Chruthachail, Urras Turtleton agus Urras Iain Latharna Chaimbeu, Bord na Gaidhlig, Tobar an Dualchais agus a’Chruinneachadh Chanaigh.
For full details visit www.nationaltheatrescotland.com #NTSLittleBird
Airson tuilleadh fiosrachadh, feuch www.nationaltheatrescotland.com
A’ comharrachadh beatha Mairead Fay Sheaghach agus an cruinneachadh de dh’òrain Ghàidhlig a rinn i, tha Eun Bheag Chanaidh mar phìos de dhràma ciùil ùr le Fiona J NicChoinnich, air a thaisbeanadh le Theatar Nàiseanta na h-Alba agus Fèis Blas ann an com-pàirteachas le Urras Nàiseanta na h-Alba. Bha Mairead Fay Sheaghach mar aon de luchd-cruinneachaidh fìor òrain ann an Gàidhlig na h-Alba a b’ ainmeile agus a bu chudromaiche san 20mh linn, fiù ged ’s dòcha nach eil a h-ainm cho aithnichte taobh a-muigh saoghal a’ chiùil thraidiseanta. Air a togail ann an Glenshaw am Pennsylvania sna Stàitean Aonaichte, thàinig Mairead a dh’Alba nuair a bha i na deugaire agus chuir i seachad bliadhna san sgoil ann am Baile Eilidh. Chaidh i air adhart a sgrùdadh ceòl ann am Paris agus New York, ach thill i a dh’Alba agus aig deireadh gnothaich rinn i a dachaigh ann an Uibhist a Deas. Fhad ’s a bha i a’ fuireach an sin, choinnich i ris an sgoilear Ghàidhlig, Iain Latharna Caimbeul, agus phòs iad ann an 1935. Airson a’ chòrr de am beatha, chùm an dithis aca air adhart le dealas a’ cruinneachadh agus a’ gleidheadh òrain Ghàidhlig agus beul-aithris airson nan ginealaichean ri teachd. A’ togail earrannan à fèin-eachdraidh beatha Mairead, agus à litrichean, dealbhan pearsanta agus criomagan fiolm mu bheatha nan eilean nach fhaca duine a-riamh roimhe, tha Eun Bheag Chanaidh a’ taisbeanadh sealladh ùr air cho cudromach ’s a tha an cruinneachadh seo a thaobh cultar na Gàidhlig mar a bha agus mar a tha, agus a’ sgrùdadh an t-seasaimh a tha aig luchdionnsachaidh na Gàidhlig ann an ath-neartachadh a’ chànain. Anns an riochdachadh seo, bidh ceòl beò agus òrain a’ nochdadh agus iad a’ gabhail a-steach earrannan bhon chruinneachadh de dh’òrain Ghàidhlig a chruthaich agus a ghlèidh Mairead agus Iain, agus a tha a’ cumadh na dìleib shaidhbhir a tha iad air fhàgail aig dùthaich na h-Alba. Thàinig Eun Bheag Chanaidh gu bith le stiùireadh bho Fiona J NicChoinnich, Pearsa Ciùil Traidiseanta na Bliadhna (2004) aig BBC na h-Alba agus buannaiche Farpais Eadar-nàiseanta Burns airson Sgrìobhadh Òrain (2009). Tha Fiona na Co-phàirtiche Gàidhlig aig Theatar Nàiseanta na h-Alba. Tha Eun Bheag Chanaidh air taic fhaighinn bho Alba Chruthachail, Urras Turtleton agus Urras Iain Latharna Chaimbeu, Bord na Gaidhlig, Tobar an Dualchais agus a’Chruinneachadh Chanaigh.
IN TIME O’ STRIFE A radical vision for a radical classic
He was a miner from Cardenden who had been working in the Fife pits since 1908 when he was just 14. It was the experience of the General Strike that prompted him to write In Time o’ Strife, one of the landmarks of Scottish theatre. “It is way ahead of its time,” says director Graham McLaren, who sees parallels with Ena Lamont Stewart’s Men Should Weep (1947), that other great play of workingclass Scottish life, which McLaren himself directed for the National Theatre of Scotland in 2011. “You go back two decades to 1928 and you find Joe Corrie, who is only able to write a play like In Time o’ Strife because he was a miner out on strike. A lot like Ena Lamont Stewart, he was never really accepted by the mainstream.” McLaren also sees a parallel with Billy Elliot which was set 60 years later during the miners’ strike of the mid 1980s. In Time o’ Strife is about a young man who wants to elope with his sweetheart to Canada to start a new life. For that, he needs money. The only way to earn anything, however, is to cross the picket line. And if he does that, he will be ostracised by the tight-knit mining community, making marriage impossible. “It’s a real dilemma,” says McLaren. “And I love it.” He compares Corrie’s heightened drama of ordinary working people to the plays of Federico García Lorca, the great Spanish dramatist who was writing at about the same time. Unlike Lorca, however, Corrie received little encouragement from the mainstream theatre of his day. Although the Scottish National Players had put on a successful production of two of his one-act plays in 1926, the company rejected In Time o’ Strife. Corrie, who believed the decision to have been politically motivated, staged the play himself with the Bowhill Players, a group drawn from the local mining community. The show was such a success that it was picked up by an agent and taken on a tour of Scotland’s major variety houses, attracting audiences of up to 1000 a night.
Hoping to click
It established him as a leading playwright, but in the absence of professional support, he was forced to concentrate his efforts on writing for Scotland’s amateur dramatic groups. He would eventually write more than 50 one-act plays and became a familiar figure on the am-dram scene. “Joe Corrie kept doing it through ever-decreasing financial circles,” says McLaren. “It’s a shame he was never encouraged because here was a great playwright with an original voice, writing about things that no one had any idea about. Miners? It was way ahead of what was happening elsewhere.” For this National Theatre of Scotland production, the director is focusing on the play’s central love story and drawing also on the playwright’s less well known poetry, lyrics and music. He is treating In Time o’ Strife not as a historical relic, but as a springboard to create a modern and exciting evening of theatre. “People will see Joe Corrie in a whole new light,” he says. Support For more information on our exciting Learn activity especially created for this production visit our website from August. In Time o’ Strife By Joe Corrie Directed by Graham McLaren Pathhead Halls, Kirkcaldy 2nd to 12th October Produced by the National Theatre of Scotland For full details visit www.nationaltheatrescotland.com #TimeOStrife
For the past 20 years, choreographer Claire Cunningham has been in a three-sided relationship. There is her and there are her two crutches. Working with video artist Gail Sneddon in partnership with the National Theatre of Scotland, she explores this love triangle in Ménage à Trois, returning by popular demand to the Edinburgh Festival Fringe where it is part of Made in Scotland 2013. Funny and touching, the show is about a lonely woman who tries to construct the perfect man out of the only thing she knows: her crutches. It’s a bold and inspirational piece of dancetheatre that reaches out to anyone who has ever doubted they will one day be loved. “Shimmers with the fantastical feel of a fairytale” – Mary Brennan, The Herald
Ménage à Trois By Claire Cunningham and Gail Sneddon Created in partnership with the National Theatre of Scotland Paterson’s Land (Venue #247), Edinburgh Festival Fringe 7th to 25th May Part of Made in Scotland 2013 For full details visit www.nationaltheatrescotland.com #MenageaTrois
Part of British Council Edinburgh Showcase
#MENAGEATROIS
#timeostrife
In 1926, 1.7 million workers walked out in protest at low pay and poor conditions in industries across the UK. The nine-day General Strike was a key moment in the story of British industrial relations and academics and politicians have written about it at great length. Nobody, however, reacted to it quite like Joe Corrie.
Ménage à Trois
How you can support your national theatre The National Theatre of Scotland has been making unforgettable theatre since 2006. In this short time, we have created over 180 new productions, toured to nearly 200 different locations and been seen by almost one million people across four continents. We annually employ around 600 people, creating opportunities for actors, writers and theatremakers of all disciplines to work in Scotland. We are committed to supporting young and emerging talent as well as attracting the world’s finest artists to come and make work with us. Last year alone, we worked with over 10,000 young people from across Scotland’s communities, engaging them in projects that build confidence and transform lives. We couldn’t do this without you. Everything we receive goes directly into supporting new work, nurturing talent and creating unforgettable Scottish theatre. Please join an inspirational group of people who help us make it happen.
FRIENDS It’s great to be friends! Friends enjoy a close relationship with us and in return for their support they receive special offers on tickets, an annual friends’ reception and regular updates on new and upcoming work.
CORPORATE SUPPORT A partnership between your company and the National Theatre of Scotland will create amazing opportunities for your clients, elevate your brand and offer ways to reward and entertain your colleagues. www.nationaltheatrescotland.com/ corporate
www.nationaltheatrescotland.com/ friends
BENEFACTORS A special scheme for those who want to play a greater role in the National Theatre of Scotland. Members of our Benefactors’ Circle enjoy a range of special opportunities including meeting the cast and creative teams of our productions. www.nationaltheatrescotland.com/ benefactors
PATRONS & VISIONARIES An inspirational group of supporters, Patrons and Visionaries are the National Theatre of Scotland’s venture philanthropists helping us put each new show on the stage. Patrons and Visionaries attend opening nights, behind-the-scenes talks and tours and get to the very heart of what we do. www.nationaltheatrescotland.com/ patrons
To find out more please contact: Elly Rothnie, Director of Development elly.rothnie@ nationaltheatrescotland.com or call +44 (0)141 221 0970 Stella Litchfield, Head of Development stella.litchfield@ nationaltheatrescotland.com or call +44 (0)141 221 9236 www.nationaltheatrescotland.com/ makeithappen
THANK YOU PATRONS AND VISIONARIES Peter and Diane Cabrelli Jo and Alison Elliot Joan Elliott Richard Findlay Fiona Gilbert Tari and Brian Lang Peter Lawson Joan and Enda Logan Gerard and Amy McCusker Fraser McMillan John and Pilla Scott Moncrieff Brian Park Nick, Margita, Siri, Jesper and Freja Price Rita Rae Ian Rankin Ian Ritchie Elly Rothnie Professor Dame Joan Stringer and Mr Roel Mali John Tiffany Chris Weir
BENEFACTORS Jim and Betta Adams Max and Angela Hendry Stella Litchfield Mairi Mickel Sir Ronald and Lady Miller May and John Moreland Jonathan A. M. Muirhead Juliette Paton Sir Adrian Shinwell David Stevenson
PRODUCTION SPONSORS 2012/2013 Benromach Mackie’s of Scotland ScottishPower
CORPORATE MEMBERS Bank of Scotland Private Banking BDO LLP Brooks Brothers UK Ltd Glasgow Chamber of Commerce Maclay Murray & Spens LLP Pinsent Masons LLP Quartic Llama Raeside Chisholm Solicitors Ltd Turcan Connell
FRIENDS AND SUPPORTERS Age Scotland Ailsa Mooney Ali Paterson Alister Fair AmbITion Scotland Andrew Lockyer Ann Gray Anne Hepburn Arnold Clark B Scenic Construction Brian Logan Bruce and Nicky Walker Calum Campbell Carol Fender Christopher Homfray Creative Scotland Commonweal Fund Crerar Hotels Daisy Dunlop DCI Print Management Donald Fraser Donald J MacDonald Dorothy Bothwell Dr Thomas Campbell McGee Easter V Smart Edith Steele Eilidh Douglas Ellis Croft Esmée Fairbairn Foundation Frank and Shirley Howell Fred and Irene Shedden Freda Miller Gary Watt Gavin Mcnee Gillian Hamilton Gráinne Smith Hannah Black Helen Livingston Hiper Ltd Iain Macniven Ian Clark and Dulce Massieu Ian Gilmour Transport Inchrye Trust Isabel Gargan ISIS James and Norma Main Janet Stewart Jerry Cowhig Jessica Burns Joan C Grant John Mather Charitable Trust Karin Hayhow Kynesis Lady Eda Jardine Charitable Trust Laura and Jonathan Gordon
SUPPORT
Lauris Calnan Liz Sutherland MAC Cosmetics Maciain Service Martin Currie Material_GROUP MB Martin Brown Hair Melina Maclean Melvyn Greig Michael Patton Mr and Mrs IL Bancroft Mr and Mrs M Rothnie Mrs Katharine Liston Nesta R&D Scotland Fund Penny and Euan Loudon Rana Keane Rebecca Heaney Rene Hamilton Roberta Doyle Ross Anderson Santander Foundation Schuh Shirley Gallacher Siobhán Convery Stephen and Anna Spackman Sylvia Aitken Charitable Trust Talteg Limited The Alexander Moncur Trust The Binks Trust The Campbell Trust The Craignish Trust The Cresswell Family Foundation The Educational Institute of Scotland The Endrick Trust The Ernest Cook Charitable Trust The Hamamelis Trust The Hugh Fraser Foundation The Merchants House of Glasgow The Robertson Trust The RS Macdonald Charitable Trust The Turtleton Trust The Warehouse Sound Services Ltd The Wolfson Foundation The Young Start Fund Two Fat Ladies Restaurants Union Advertising Agency Vicky Hunter Virginia Anderson William and Vanessa Prosser
MACBETH ONE-MAN’S JOURNEY INTO MADNESS Alan Cumming’s solo version of Shakespeare’s Scottish play proved such a hit on its debut run in Glasgow and New York that it has been revived by producer Ken Davenport for a high-profile run on Broadway. Theatregoers on the Great White Way will enjoy a bravura performance in which the actor plays not only the murderous Macbeth but all the key characters, from Banquo’s ghost to Lady Macbeth. “The performance has a smooth virtuosity… Cumming delivers the verse with lucidity and intelligence” – Charles Isherwood, New York Times Ken Davenport presents the National Theatre of Scotland‘s production of Macbeth By William Shakespeare on Broadway in New York in Spring 2013. Performed by Alan Cumming Directed by John Tiffany and Andrew Goldberg
#ntsmacbeth
HOW YOU CAN SUPPORT YOUR NATIONAL THEATRE
Everything that we do should be accessible to you. In 2013, there are several ways for audiences everywhere to get closer, get involved and get more from us.
CHAMPIONS
DEAF THEATRE CLUB
We have recruited a team of voluntary Champions from across Scotland. Our Champions come from all backgrounds, ages and locations. Working closely with members of the National Theatre of Scotland, this team of theatre lovers helps to spread the word of our work to their local communities.
Working in partnership with Solar Bear, we create regular innovative theatre packages across Scotland for deaf audiences including information on all our BSL performances, interpreters, ticket deals and exclusive talks, tours and events.
YOUNG ADVISORY GROUP 10 exceptional people aged between 13 and 19 from all over Scotland have been selected to form the first National Theatre of Scotland Young Advisory Group. The group have the chance to influence and shape the future of the National Theatre of Scotland and represent the voice of Scotland’s young people. As volunteers, the group are mentored by members of the Board of Directors and will help us continue to be one the most exciting theatre companies in the world. The next Young Advisory Group selection process will begin early in 2014.
To find out more and to sign up to Deaf Theatre Club contact: solarbearaccess@me.com
THEATRE COMPANY In 2013, we are offering the opportunity for older people interested in going to the theatre more. If you would like to join a group that meets regularly to attend performances, events and trips to productions across Scotland, just get in touch.
RELAXED PERFORMANCES We are committed to programming performances exclusively for audience members who would benefit from a more relaxed theatre environment, including people with an Autistic Spectrum Condition or sensory or communication disorder and their families. Working closely with the National Autistic Society these performances are a supportive, relaxed and enjoyable atmosphere for all the family.
To find out more about any part of our work or to help us improve our service, contact: info@nationaltheatrescotland.com or call +44 (0)141 221 0970 National Theatre of Scotland Civic House, 26 Civic Street, Glasgow G4 9RH
AUDIO DESCRIPTION
BSL INTERPRETATION
Audio Description offers a live commentary for audience members with visual impairment. The description starts about 10 minutes before the show and includes information on the production. The audio describers then provide commentary on the action and visual effects throughout the performance. This information is relayed over an infrared system to individual headsets, which are available free of charge from the venue Box Office.
BSL (British Sign Language) interpretation offers deaf and hearing impaired audience members a live translation of all spoken words and sound effects into sign language. Please mention when you contact the Box Office that you are booking for the BSL interpreted performance so you can be allocated seats with the best view of the signer.
TOUCH TOURS Touch Tours offer blind and visually impaired members of the audience a chance to orientate themselves with the set and costumes immediately prior to an audio described performance. The Stage Manager will lead these tours. Those wishing to take part in a touch tour should register with the Box Office when booking tickets for the performance.
AUDIO GUIDES If we’re not able to offer full audio description we will provide an Audio Guide to the performance. This will be free and available at venues and to download from our website prior to the performance. The guide will provide audience members with thorough detailed content about the show including scene by scene breakdowns, descriptions of the set and information provided by key members of the cast and creative team.
CAPTIONED PERFORMANCES Captioning converts the spoken word into text that provides people with hearing loss better access to live performance. In captioning, the words appear on a screen at the same time as they are spoken or sung. Captions also include sound effects and offstage noises.
TICKETS FOR ALL ACCESSIBLE PERFORMANCES, HEADSETS FOR AUDIO DESCRIPTION AND AUDIO GUIDES MUST BE BOOKED IN ADVANCE FROM VENUE BOX OFFICES.
PHOTOGRAPHY Dunsinane, front and back cover Simon Murphy The Day I Swapped My Dad for Two Goldfish Simon Murphy
info@nationaltheatrescotland.com
Calum’s Road Simon Murphy New Plays from China Tommy Ga-Ken Wan
For the latest information on all our activities, visit www.nationaltheatrescotland.com
Black Watch Manuel Harlan
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Let The Right One In Albert Watson
Follow us on Twitter: @NTSonline
Dunsinane, listings page Richard Campbell A Little Bird Blown Off Course/ Eun Bheag Chanaigh Hugh Harwood Paul Bright’s Confessions of a Justified Sinner Jack Wrigley The Strange Undoing of Prudencia Hart Drew Farrell
Ménage à Trois Kenny Mathieson Macbeth Manuel Harlan
CONNECT
Words by Mark Fisher Design by O Street
Copyright © 2013 National Theatre of Scotland and individually n a m e d contributors. All information correct at time of going to press and subject to change. The National Theatre of Scotland reserves the right to alter casts, performances, seating or ticket arrangements and latecomers may not be admitted. Booking fees may apply on tickets, please check with the venue Box Office when booking.
WITH THANKS
In Time o’ Strife Murdo MacLeod
AT THE NATIONAL THEATRE OF SCOTLAND WE ENCOURAGE YOU TO CONNECT WITH US IN A WAY THAT SUITS YOU
National Theatre of Scotland Civic House, 26 Civic Street, Glasgow G4 9RH Tel: +44 (0)141 221 0970 Fax: +44 (0)141 331 0589
The National Theatre of Scotland, a company limited by guarantee and registered in Scotland (SC234270), is a registered Scottish charity (SCO33377). The National Theatre of Scotland is core funded by the Scottish Government.