The Stamping Ground – Festival Theatre, Edinburgh

The Stamping Ground is a musical featuring the songs of Scottish Celtic rock band, Runrig.  Although little known outside Scotland, Runrig were a hugely popular group with a passionate and loyal fan base from 1973 to 2018.  Although the line-up changed a little over the years, Calum and Rory Macdonald remained the constants, having written all the songs featured in this musical, some of which are sung in Gaelic, the native language of their birthplace, The Isle of Skye.

Written by Morna Young and directed by Luke Kernaghan, The Stamping Ground tells the story of Euan (Ali Watt) and Annie (Jenny Hulse) who make a decision to return to their highland home when life in London turns sour, and to give their teenage daughter Fiona (Caitlin Forbes) a safer and healthier life.   Once back in the highlands, having arrived during a long hot summer heat wave, life isn’t quite the Hebridean idyll they had hoped for, with the pub at risk of being sold to developers, a lack of available property due to the number of holiday lets and daughter Fiona forming a close friendship with free spirit Summer, (Naomi Stirrat); a relationship Euan has good reason to be fiercely disapproving of.  With another homecoming, that of Johnny (Robert Grose), from Canada, keen to rekindle passion with his former love, the now widowed Mary, (Annie Grace), emotions and tempers become as heated as the weather.

Despite the somewhat political, though legitimate, narrative of exploitation of the highlands, this is essentially a story that explores the themes of love of homeland, family, community and identity.   A passion for the land and the wild beauty of the highlands is told through the lyrics of the Runrig songs, such as “The Place where Rivers Run”, “Worker for the Wind”, “The Stamping Ground” and “In Search of Angels”.   This musical should by no means be considered a concert of Runrig songs.  Though clearly recognisable, the songs have been re-arranged by Musical Director John Kielty to reflect the mood of the narrative and to compliment the different, often female, voices.  Some clever and haunting harmonies add to the beauty of the MacDonalds’ lyrics, although the rock element has been almost entirely replaced with slower arrangements of familiar songs. The three piece band are on stage throughout, the musical output being augmented at times by members of the cast on fiddle, guitar, accordion and pipes.  “Skye” was performed quite spectacularly early in Act one, with the choreographed digging of the peat (movement director, Jade Adamson), dramatically performed to the epic drumming of Stuart Semple.

Kenneth MacLeod’s set design is inspired.  The centre piece is a strange elemental structure, part rocky crag, part ancient pagan stone, which also serves as the doorway of a crofter’s cottage.  The raised circular stage in front of the structure lets us know the characters are outside in the open landscape, with the parapet surrounding it giving the impression of being on the top of the mountain.   What doesn’t quite work for me is the narrow strip of colour changing neon-esque wavy line running along all three sides of the stage.   I assume the pattern is supposed to depict the mountainous horizon, but all I could see was the ECG of a very sickly patient in desperate need of cardiac intensive care!   Simon Wilkinson’s lighting design makes full use of the rocky structure, using the circular hole at the top to great effect at the end of Act one.  Throughout the production the lighting attempts to depict the changing nature of the highland skies, with the light beams being emphasised by the constant presence of highland mist.  Mostly this is effective, but one of the most wonderful aspects of Scotland, particularly the Scottish Highlands, are the long light evenings when the sky never gets properly dark particularly after a cloudless sunny day, the very weather Euan and Annie find when they first return home.  It’s a pity this effect couldn’t have been shown in the lighting at some point.

The only lacklustre performance came from Robert Grose as Johnny, who was rather lacking in energy and commitment to a role which had potential to create much more impact.  His accent was curious too; having left the highlands as an adult, he now returns with a full-on Canadian twang, which was very unconvincing.  Apart from that, the cast gave lively and genuine performances, with the music emphasising the poetry and magic of the Scottish Highlands.

“The Stamping Ground” runs at Edinburgh Festival Theatre from 23^rd to 27^th May. https://www.capitaltheatres.com/your-visit/festival-theatre

After that at Beacon Arts Centre, Greenock (31^st May – 3^rd June), His Majesty’s Theatre, Aberdeen (7^th – 10^th June), King’s Theatre, Glasgow (13^th – 17^th June) and Perth Concert Hall (21^st – 24^th June)

Reviewer: H.S. Baker

Reviewed: 23rd May 2023

North West End UK Rating: