Another huge international hit for The National Theatre of Scotland (following Black Watch, Beautiful Burnout and Midsummer), I’d somehow managed to miss the initial performances and tour of Prudencia Hart – even when it was on Brighton’s Palace Pier last year. I had caught a few minutes of it at Edinburgh in 2011, and I now think my instinct not to rush to see it was right, as, against the opinion of almost everyone else who has seen it, I was not entirely convinced.
Charlotte Smith reviews that Edinburgh version and describes it just right. There have been some cast changes, but fortunately the wonderful David McKay still plays the devil and is the core of the play. But all the performers are strong, and that they manage to keep it as fresh and seem to have real joy in their performance after six months constant touring is remarkable. The music (composed by Alasdair Macrae) is a pleasure, and the Wise Hall is yet another great site for the piece.
Care and involvement of the audience, including the whisky shot and the sandwiches, are good crowd-pleasers. There are some highly inventive directorial moments as well, courtesy of Wils Wilson. I particularly liked the slowed-down voice of an over-long lecture delivered by arrogant academic Colin Syme (Paul McCole), and the evocation of a row of books in hell – where every book that ever was or would be are held.
What troubles me is the writing. I find it overly sentimental despite the descent into hell; Prudencia’s journey is too simply resolved, while the narrative veers very broadly across themes.
The PuSh Festival audience loved the show. It ran for nearly three hours. It will endure, and audiences in Perth next week will love it too. For me, though, a bit more about Border Ballads and a bit less showbiz would have made it a more enriching experience.