EIF: Burn

King’s Theatre - 07/08/22

‘Burn’ is a production filled with promise. On paper, the combination of Alan Cumming and Robert Burns - two Scottish icons - seems fitting, as the play attempts to dispel any romantic notions about the national poet. Who other than Cumming, who has never shied away from an honest, even grotesque, performance, could tackle Burns as an unconventional, tragic hero? However, with all the promises ‘Burn’ carries, this one-man-show is not guaranteed to fulfil the viewer’s expectations.

The production’s strength is in Cumming’s acting, and he is certainly convincing as the volatile Burns, bringing a sense of energy and verve to the character. He presents the audience with a fully-realised performance, mastering the poet’s humour, hope, fear, and agony that are demanded in quick succession. His voice seems made for the text, the majority of which comes from Burns’ own oeuvre of poems and letters, allowing him to command and captivate the audience with his bold interpretation.

As an actor, Cumming is legendary, but his attempts at dance throughout the performance ultimately detract from the integrity of the piece. The addition of movement had the potential to add poignancy or emotion to the performance, but the end result appears gimmicky and awkward. There are instances in which it seems possible that dance could work within ‘Burn’ - for example, Cumming’s attempts at Highland dance seem to satirise the perception of Burns as a commodified, ‘biscuit-tin’ Scot. However, an oversaturation of such moments, and a lack of general relevance to the story, makes the element of dance seem unfortunately meaningless: at worst appearing like self-indulgent prancing.

This is not to suggest that ‘Burn’ lacks a sense of cohesiveness - there are other elements which seem to bounce off Cumming during his energetic performance - such as lighting, sound, and set design (which in itself creates a supporting cast). The atmosphere created is evocative of the gloomy 1700s, yet with a current of electricity that serves to modernise and enliven the production. The polarising switches between the traditional world of Robert Burns and the less traditional use of music and strobe lighting can be dizzying, and yet are successful in conveying the depth of Burns’ own torment, as the play insinuates his experiences of hypomania. Overall, despite some unnecessary additions (including the redundant use of video projection), the set, like Cumming, is prepared to engage and entertain.

For a production that aims to rejuvenate the public image of Robert Burns, ‘Burn’ can be considered a success. It is undoubtedly a fearless performance - experimenting with forms such as dance, lighting, and sound. Some decisions have proven to work better than others, but all are effective in creating a piece of theatre that evokes the psyche of Burns as a deeply troubled and misunderstood figure. Like Burns, the production dares to be different, but certainly has its share of imperfections.

Cover photo: Tommy Ka-Gen Wan