Sunset Song
Eden Court Theatre, 18/05/2024
‘Sunset Song’, written by Morna Young after Lewis Grassic Gibbon
Dundee Rep in a co-production with the Royal Lyceum, Edinburgh
In 2016 ‘Sunset Song’ by Lewis Grassic Gibbon was voted Scotland’s favourite novel. In a brave attempt Dundee Rep, in a co-production with the Royal Lyceum Edinburgh, asked playwright Morna Young together with director Finn den Hertog and composer Finn Anderson to create a stage version. Studied by most school students as part of the curriculum and already a 1971 TV dramatisation, the 1932 novel focuses on a young girl growing up the rural northeast of Scotland, specifically the Howe of the Mearns in Kincardineshire, where the author grew up. The novel tells the story of Chris Guthrie as she grows up from the age fifteen, through love, marriage, childbirth, and widow hood. Set in the early 20th century the impact of the first world war is looming over the harsh isolated rural community and its way of life.
The audience at the matinee performance seemed to be made up of women who had studied the novel at school and hoped it would bring to life this sweeping story. Much like bringing to the stage a Thomas Hardy novel for similar audiences down south. (I never did finish ‘The Trumpet Major’ for O Levels.) Sadly, this production, although very worthy, did not succeed. As did not productions over the years of ‘Gone with the Wind’ (a disaster) ‘Jane Eyre’ at the National (dull) and Cliff Richard’s musical version of Wuthering Heights (the critics called it ‘withering’). Bringing the classic novels to the stage is an ambitious task. How do you tell a sweeping story and condense it into three hours?
Written by Morna Young in Scots, you are party to the strong relationship with the novel. In her programme notes, she writes that she has read it many times over the years, identifying as a north-east quine and a native Doric speaker. Of course, the opportunity to write a stage production is a gift. It almost succeeds.
The talented cast of eight are, as they say today, ‘triple threats’. Multi instrumental players, with strong vocal talents they coped admirably with the distracting constant movement. Moving chairs every two lines, playing instruments, dance moves, and song they are on-stage throughout. Centre-stage is Chris, played by rising star Danielle Jam. She is a lovely competent performer, but somehow never gets to the emotional centre of the part. I longed to hear Chris’ story through more dialogue and conversation. As with the supporting actors, there was little chance of bringing true emotion to the parts they were playing. Endeavouring to bring life to the protagonists, the audience loses the heart of the characters. However, there was an outstanding performance by Rori Hawthorn playing Jean, along with vibrant fiddle playing and song. The mournful, mystical score would have benefited from input from north-east fiddle player Paul Anderson.
The set evoked the land and the country of Kincardineshire. The centre stage filled with hillocks and earth, flanked by stands of instruments. By placing it further back on the thrust stage at Eden Court it lacked intimacy. A difficult clear up job for the technical team. The backcloth was stunning evoking the fields and changing seasons.
Emerging after three hours to the sunny Inverness riverside, I had the secret feeling that I was somehow glad it was over, and I could stretch my legs and back. I shall re-read the book, believing that it is still relevant today. A worthy attempt, but the audience exited fast.
