No Stone Left Unturned

ANN PALMER finds that Theatre Hebrides’ new production of Kevin MacNeil’s ‘youth’ play has much to offer to a wider audience on its current tour

THE BILLING OF ‘The Callanish Stoned’ as a fast-moving road-movie of a play based around one night’s shenanigans during Summer Solstice is accurate, but gives no hint of the painful-for-the-characters – and sometimes the actors – upcoming journey.

Though the surface story is about a midsummer trip to Callanish, the play is really about three experiences common to everyone: family conflict, loyalty to a childhood chum, and first love.

That’s a potent mixture, especially when compounded by those three being at odds with one another. Lewis Macleod, played by David Fitzgerald, finds himself at the centre of this fraught triangle, his problems increasing as the plot unfolds.

Carina Macleod as Lewis’s mum, Ishbel, Neil McNulty as his best friend, Harris, and Annabelle Nicol as wannabe novelist-girlfriend, Isla, all undergo adventures that are never self-chosen. Fiona Morrison takes two parts, while the sixth actor in this cast, David Walker, deserves special mention for his contribution as five ‘bit-part’ characters.

‘The Callanish Stoned’ upturns many stones, as in a range of social issues faced by society today. Its contemporariness is then twice twisted. First, to root the play – through the Gaelic – firmly into Hebridean culture, and secondly, to do it with the slantwise humour that readers of Kevin MacNeil’s novel ‘The Stornoway Way’ will recognise.

This play fulfils the treble requirement of live performance – it engages, enriches and entertains.

The result is neither cynical nor cruel, but a deeply compassionate interpretation. With this cast of young actors and actresses playing obsessed, well-drawn, individualised characters, it is guaranteed to warm the hearts of audiences whatever their age.

Act 1 is chock-a-block with scenes that will be home-ground to any angst-ridden teenager: real emotions, the witty, sparkling, slang-dialogue that revels in music provided by Willie Campbell, linked to the passion and trauma-drama of being seventeen years old.

Act 2 requires a gear-change. Not just to cars, but to a farcical treatment of scenes touching on rape, violence and radically different belief systems. This opening up of the storyline works profound changes in all the main characters when they finally reach their destination.
 
The second act also shows us Kevin MacNeil as a highly imaginative writer, who delights in the bizarre and surreal – those places where humorists love to lead us. Despite moments of total wackiness, Kevin keeps a discreet rein on this one, for his overall intent is that his audience share in the delight of the crazier aspects of being human and flawed.

The sub-text of important cultural issues handled sensitively and respectfully takes ‘The Callanish Stoned’ light-years away from its unjustifiable reputation as being “about drink and drugs,” and puts it firmly in the category of “relevant to us now”.

This play fulfils the treble requirement of live performance – it engages, enriches and entertains. Oh, and there is no swearing.

Muriel Macleod, the director of Theatre Hebrides, has made a bold move in following the historical play ‘Metagama’ with one focusing on young people’s concerns. However, the real identity of this play will be missed if it is categorised as just for the youngsters.

By bringing issues in people’s hearts into the public arena it offers an opportunity for healing and reconciliation. Art, after all, if it is to serve, needs to be about life and provide opportunities to see that which is over-familiar with fresh eyes.

‘The Callanish Stoned’ premiered at An Lanntair in Stornoway before going on tour to Benbecula, Portree, Sleat, Dingwall (17 March), Invergordon (18 March), Thurso (21 March), Lossiemouth (22 March), Kingussie (23 March), Inverness (24 March), Fort William (25 March), Glasgow (28 March), Edinburgh (29-30 March) and Ipswich (1 April).

© Ann Palmer, 2006

Link

• Kevin MacNeil’s website