Will the recently established National Theatre of Scotland give rise to a new golden age of Scottish contemporary drama?by Michael Coveney / October 21, 2006 / Leave a comment
Published in October 2006 issue of Prospect Magazine
One of the most important things to emerge from this year’s Edinburgh Festival is that the new National Theatre of Scotland—an informally arranged enabling agency with no permanent theatre, no building, no red carpets and a modest budget of £4m a year—might not be such a bad idea after all.
This revisionist thought is prompted by the resounding success of two NTS Edinburgh productions of new plays by Gregory Burke and Anthony Neilson. These suggested that a flexible policy of commissioning and co-operation bypass the problems of a bureaucratic institution locked into anxieties about its status or programming.
Burke’s Black Watch, an unofficial biography of the famous regiment and its last assignment in Iraq before amalgamation in the new Royal Regiment of Scotland, was the hit of the fringe festival. The play demonstrated what can happen when extra resources are hitched to extra ambition: John Tiffany’s production was part history lesson, part documentary, part social realism, part locker room comedy and part ritual of war.
Neilson’s filthy, funny Realism was a zanily designed dream play of a day in the life of a fat slob. It played out on a vast stage of sand with furniture and characters stuck into it at odd angles. In an epilogue, Stu, the fat slob, revealed what we might have seen without the re-imagined drama of his ordinary day: Stu wrapped in a dressing gown seated at a kitchen table in a poky “fringe theatre” setting.