The strength of the NTS lies in the clear vision of artistic director Vicky Featherstone. In her manifesto for the company, she states that her intention is to bring theatre to the people and co-operate with international companies, individual artists and local authorities.
PUBLISHED 13 SEPTEMBER 2006
The National Theatre of Scotland has managed, in the six short months since the start of its inaugural season, to become a dynamic and celebrated force. A success on the Fringe with Gregory Burke's 'Black Watch' and Anthony Neilson's 'Realism', a series of collaborations and events held across the country have established it in the forefront of the cultural life of Scotland, from the Shetlands to the Borders.
By refusing to tie itself down to a single base, the NTS has avoided the financial problems associated with new companies and has been able to reach out into the broader community. Launched in February through an event, 'Home', that took place simultaneously in ten different locations, it has presented a wide range of dramas in areas that would not usually have the opportunity to see such impressive work.
The strength of the NTS lies in the clear vision of artistic director Vicky Featherstone. In her manifesto for the company, she states that her intention is to bring theatre to the people and co-operate with international companies, individual artists and local authorities. To this end, she has created a touring ensemble and the Young Company, bringing live theatre into schools and smaller communities, as well as supporting the training of young actors.
Rather than attempting to create a programme from nothing, she has also entered into successful collaborations with existing companies: 'Wolves in the Walls', an adaptation of Neil Gaiman's successful children's book, was made in association with Improbable, while November's tour of 'Snuff' is jointly produced by the Arches Theatre Company. Furthermore, the decision to use the existing infrastructure means that the NTS will be performing in the country's finest venues, from His Majesty's Theatre in Aberdeen to Edinburgh's Royal Lyceum and Glasgow's Citizens.
In this way, regional rivalries have been bypassed and the company is inclusive of many sorts of theatre, from the experimental - as in the site-specific 'Home'- to the populist, via pieces for children. A strong commitment to outreach and education suggests that the NTS is willing to develop long term links to shape the next generation of theatre-goers and cultivate artists within Scotland.
The first half of this season has seen the NTS express its intentions through a diverse portfolio of works. Both 'Home' and 'Roam' represented site-specific, suggestive drama: the latter performed at Edinburgh International Airport and using a variety of texts to explore national identity and the experience of global travel. More conventionally, scripted plays have included Arthur Miller's 'The Crucible' and Chris Hannan's 'Elizabeth Gordon Quinn'. Both of these works revealed the NTS' concern for theatre as a vehicle for social commentary, without descending into fashionable polemic. Overall, the season embraces the many aspects of modern Scottish theatre and operates as a summary of the state of modern performance art.
The remainder of the year promises to continue in the same manner: both the Touring Ensemble and the Young Company are hitting the road with three works apiece, while two further plays are coming from the main company.
The Touring Ensemble is taking 'Gobbo', 'Mancub' and 'Julie' across Scotland during September and October. Aiming for the younger audience as well as adults, they combine a hectic performance schedule with a community workshop programme. 'Gobbo' is intended for children aged five and over and describes the adventures of a 'goblin who doesn't like adventures'. 'Julie', on the other hand, is an updating of Strinberg's most famous play, relocating the battle of sexual and social politics to Scotland between the wars.
The Young Company are bringing two new works and one classic to the stage. 'Oedipus the King' by Sophocles is retold using Scottish and West African traditions and Raman Mundair's 'Side Effects' explores the consequences of a rowdy night out in Glasgow. Finally, 'Self Contained' is their entry for the Arches Live! Festival in September: a dark work that promises comedy and archaic technology.
However, the centrepiece of the NTS' year will be a production of John Byrne's acclaimed TV series 'Tutti Frutti'. Based on the music of the 1960s, it tells the story of a washed-up pop band, trying to rediscover their glory in the aftermath of their singer's tragic death. Byrne's sharp dialogue and wit made this one of the most beloved television dramas of the 1980s and its mixture of poignancy and laughter ensures that this will be a show to remember.
Finally, Schiller's 'Mary Stuart' affirms NTS' commitment to re-examining Scotland's past: set around a meeting between the Queen of Scots and her cousin Elizabeth I, it is a modern masterpiece of characterisation and intrigue.
In its first season, the National Theatre of Scotland has proven its vibrancy: the range of plays is impressive and its willingness to tackle serious subjects suggests that it is able to examine Scottish identity without resorting to shallow patriotism. Not only does it return drama to the people, it creates a model of stagecraft and engagement that will resonate around the world.
By refusing to tie itself down to a single base, the NTS has avoided the financial problems associated with new companies and has been able to reach out into the broader community. Launched in February through an event, 'Home', that took place simultaneously in ten different locations, it has presented a wide range of dramas in areas that would not usually have the opportunity to see such impressive work.
The strength of the NTS lies in the clear vision of artistic director Vicky Featherstone. In her manifesto for the company, she states that her intention is to bring theatre to the people and co-operate with international companies, individual artists and local authorities. To this end, she has created a touring ensemble and the Young Company, bringing live theatre into schools and smaller communities, as well as supporting the training of young actors.
Rather than attempting to create a programme from nothing, she has also entered into successful collaborations with existing companies: 'Wolves in the Walls', an adaptation of Neil Gaiman's successful children's book, was made in association with Improbable, while November's tour of 'Snuff' is jointly produced by the Arches Theatre Company. Furthermore, the decision to use the existing infrastructure means that the NTS will be performing in the country's finest venues, from His Majesty's Theatre in Aberdeen to Edinburgh's Royal Lyceum and Glasgow's Citizens.
In this way, regional rivalries have been bypassed and the company is inclusive of many sorts of theatre, from the experimental - as in the site-specific 'Home'- to the populist, via pieces for children. A strong commitment to outreach and education suggests that the NTS is willing to develop long term links to shape the next generation of theatre-goers and cultivate artists within Scotland.
The first half of this season has seen the NTS express its intentions through a diverse portfolio of works. Both 'Home' and 'Roam' represented site-specific, suggestive drama: the latter performed at Edinburgh International Airport and using a variety of texts to explore national identity and the experience of global travel. More conventionally, scripted plays have included Arthur Miller's 'The Crucible' and Chris Hannan's 'Elizabeth Gordon Quinn'. Both of these works revealed the NTS' concern for theatre as a vehicle for social commentary, without descending into fashionable polemic. Overall, the season embraces the many aspects of modern Scottish theatre and operates as a summary of the state of modern performance art.
The remainder of the year promises to continue in the same manner: both the Touring Ensemble and the Young Company are hitting the road with three works apiece, while two further plays are coming from the main company.
The Touring Ensemble is taking 'Gobbo', 'Mancub' and 'Julie' across Scotland during September and October. Aiming for the younger audience as well as adults, they combine a hectic performance schedule with a community workshop programme. 'Gobbo' is intended for children aged five and over and describes the adventures of a 'goblin who doesn't like adventures'. 'Julie', on the other hand, is an updating of Strinberg's most famous play, relocating the battle of sexual and social politics to Scotland between the wars.
The Young Company are bringing two new works and one classic to the stage. 'Oedipus the King' by Sophocles is retold using Scottish and West African traditions and Raman Mundair's 'Side Effects' explores the consequences of a rowdy night out in Glasgow. Finally, 'Self Contained' is their entry for the Arches Live! Festival in September: a dark work that promises comedy and archaic technology.
However, the centrepiece of the NTS' year will be a production of John Byrne's acclaimed TV series 'Tutti Frutti'. Based on the music of the 1960s, it tells the story of a washed-up pop band, trying to rediscover their glory in the aftermath of their singer's tragic death. Byrne's sharp dialogue and wit made this one of the most beloved television dramas of the 1980s and its mixture of poignancy and laughter ensures that this will be a show to remember.
Finally, Schiller's 'Mary Stuart' affirms NTS' commitment to re-examining Scotland's past: set around a meeting between the Queen of Scots and her cousin Elizabeth I, it is a modern masterpiece of characterisation and intrigue.
In its first season, the National Theatre of Scotland has proven its vibrancy: the range of plays is impressive and its willingness to tackle serious subjects suggests that it is able to examine Scottish identity without resorting to shallow patriotism. Not only does it return drama to the people, it creates a model of stagecraft and engagement that will resonate around the world.
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