Adventures with the Painted People
This is the long-awaited staging of David Greig’s new play, which received great acclaim on its BBC Radio 3 airing. A compelling new drama about love and culture, set on the River Tay, 2000 years ago.
At last real live actors, a real live audience, and a terrific new play in an atmospheric woodland setting. Being a fan of outdoor theatre this opening production hits the mark. Having enjoyed the radio production in 2020 I wondered how it would transfer to a main stage. Wisely, artistic director Elizabeth Newman chose to present it in the new intimate amphitheatre set in the Explorer’s Garden which stretches upwards from the main house. A mini–Kew Gardens, high above the River Tay this is the perfect venue for this captivating new work by David Greig.
A feisty young woman, supposedly a witch, imported from another clan and a young Roman solider/ official captured as he writes poetry by the river create a fascinating encounter of two cultures. Set somewhere in the vicinity of Pitlochry in the year 85 AD, during the reign of the Emperor Domitian, then Julius Agricola, the longest serving and most powerful governor of Roman Britain. She saves him and wants to learn to write. He is trapped in a world far different from his home in Leptis Magna. As the story unfolds you realise there is not a lot of difference from our clashing worlds today. He explains how Roman domination works. They build roads, create cities and impose their lifestyle on the local population. This is the HS2 of the Roman world, the concreting over of Britain. She explains there are other paths to take. The Caledonian way.
The action is full of humour and wisdom. Written in contemporary style it avoids the pitfalls of stereotyping the two protagonists. He is, thankfully, not a Charlton Heston Roman but a really nice bloke who has been away for fourteen years from his home and family. He collects taxes and writes bad poetry. She is a witty survivor, creating pregnancies which do not exist to placate the women of the tribe while she protects him.
Played by Kirsty Stuart, Eithne shares the stage for two hours with Nicholas Karimi playing Lucius. Both a perfectly matched in talent and charisma they hold the audience in the palm of their hands. He is never off-stage while she skips on and off attending to different chores, ably created with sound design and music by Ben Occhipinti (did I hear a Carnyx in there?) It is a marathon for them both, but they maintain the lightness and sadness of the dialogue while never letting the pace lag or prevent the story from moving forward. They create a true bond on stage, but who would not with such a charming and insightful piece?
The new amphitheatre, made of a basic wooden circle, seating at this performance an audience of forty, has good acoustics, despite being surrounded by tall trees and foliage, and what a joy to enjoy performances without radio mics! The staging in a simple sand circle with the added excitement of a fire circle. The costuming is basic and the soundscape perfect. I did wonder about Eithne’s zipped boots but that is a minor gripe. It is beautifully directed by Elizabeth Newman, the current artistic director of Pitlochry Festival Theatre, who does justice to this fascinating story creating two hours of theatrical pleasure.
Just a small point. As the theatre is undergoing a revamp the signage is poor and difficult for disabled audience members. One wobbly portable loo is just not enough! However this is the best thing I have seen over the past three years at Pitlochry. A triumph for live theatre!
Limited availability. Runs until 4th July 2021.
