KAREN EMSLIE sees Shetland Youth Theatre take a fresh look at a literary classic

SHETLAND Youth Theatre (SYT) was established in 1994. Its first production, Dracula, was performed in the North Star, Shetland’s much loved but now defunct nightclub and former cinema. This show set a precedent for bold productions by 12-to-21 year olds that continues to this day.

SYT performing The Canterbury Tales (© Stuart Hubbard)

The company explores theatre as a broad learning experience. It is based on a philosophy of inclusion that aims to embrace and develop young people of all levels of skill and talent. Whilst this idea is at its core, several past members have also gone on to establish professional acting careers in various fields, ranging from traditional stage acting and physical theatre to circus and theatre combat.

Since its inception SYT has been run by John Haswell, an intense and committed character, who has not been afraid to take risks and to stretch his casts. The company is part of Shetland Arts, and also participates in the National Theatre of Scotland’s New Connections programme. This scheme sees youth companies perform new work in their home areas, then showcase them in other parts of the UK.

Over the years SYT have undertaken classics by writers such as Shakespeare, but also original pieces, including work by Haswell and other local writers.

Their work beyond the islands is varied. After opening in Shetland, Red Sky (2007) was performed in The Lyceum in Edinburgh and at the National Theatre in London, and Black Out (2009), based on interviews with a young offender, received national acclaim after performances on the island of Yell, Lerwick and Edinburgh. The piece was notable for its boldness as 33 members of the cast were positioned amongst, and spoke directly to, the audience. This created an intense, and at times confrontational, theatre experience.

The company often make use of unconventional performance spaces. Macbeth (2004) was performed in Scalloway Woollen Mill and Castle, and A Midsummer Night’s Dream (2006) in a community garden on Shetland’s Westside.

Haswell has a knack for bringing out complex, universal and challenging emotions in his casts. For example, the heightened, electric atmosphere of despair created by a large number of loudly wailing youngsters in Macbeth is hard to forget.

And so it is with their latest production, a colourful and bawdy version of Geoffrey Chaucer’s The Canterbury Tales. The young cast successfully carry off a somewhat risqué performance with cheeky-chappy, comic glee.

In the original 14th century classic, Chaucer recounts twenty-four tales told by pilgrims travelling from London to the shrine of Thomas Becket in Canterbury Cathedral. The text, composed of verse and prose, is notable as it portrays ‘sondry folk’ rather than the noble classes.

The modern version, by Phil Woods, tells eight of the tales as part of a ‘Geoffrey Chaucer Canterbury Tales Storytelling Competition’. Performed in The Garrison Theatre in Lerwick, each competitor narrates their tale and leads us on a splendid romp through the taverns, countryside and homes of England in the Middle Ages.

The show kicks off with a leather and sequin adorned MC (Harry Whitman) introducing the cast of competitors. First up is The Knight (James Watt), whose comic-tragic tale of heroic love lights up the stage with song, slapstick and intriguing props (wheeled kitchen trolley ‘horses’, whisk and ladle swords and dish-mop flowers) The Knight tells of two love-sick suitors, Arcite and Palamon (Joe Christie and Gavin Pierpoint), vying for the love of the delightful Emily (Shaela Halcrow).

Next, The Reeve’s Tale. Student cads, John and Alan (Max Tyler and Ceidiog Saxelby) delight the audience with their ‘lashings of ginger ale’ accents. We are for-warned with that this is a saucy, ‘squelchy’ tale. Simpkins (Debbie Wynn) snores while Mrs. Simpkins (Danny Mullay) and daughter Molly (Jenny Heubeck) indulge in some sing-a-long bed hopping comic antics with John and Alan. The cast pull it off with clever use of brash, jazzy music, innuendo and strategically positioned sheets. It’s a Benny Hill, cross-dressing, panto frenzy.

The Pardoner (Joe Christie) introduces us to Tom, Dick and Harry, three gambling, boozing, wenching brothers (Freya Inkster, Morven Davies and Chloe Robertson). Note: more gender-gymnastics! In this story of morality and double-crossing the trio set off to avenge their chum, Walter, who has been killed by Death.

A Hag tells them where they will find Death, but instead they find treasure. Greed consumes Dick as he plots to poison Tom and Harry, but they kill him first, only to quench their celebratory thirsts with the poisoned drinks. In the end the Hag was right – they all find Death.

The Cook’s Tale sees Ellen Smith sing the audience beautifully towards the interval as the sparkling MC slinks off his chair and takes to the stage for some devilment, dancing and dastardliness.

The Priest’s Tale opens with a Cock called Chanticleer (Chris Halcrow) strutting exuberantly amongst his harem of singing hens and favourite chick until he succumbs to the flattery of a hungry fox during a rendition of Moon River. The lucky cock escapes this sticky wicket by tricking the fox into opening his mouth to answer a question. Don’t fall for flattery and keep your mouth shut is the moral of this tale.

The Wife of Bath (Jenny Heubeck) tells an epic tale. A Knight (James Watt again) has forcibly deflowered an innocent maiden and is condemned to death. But, if he can discover ‘What women desire the most?’ then his life will be spared. An Old Hag gives him the answer; sovereignty. In return he must marry the Hag and chose whether she magically transforms herself into a young, beautiful but unfaithful woman or remains a faithful Old Hag. Dilemmas and sorcery are boldly set upon a darkly dubious underbelly.

The struggles and hi-jinx of men and women continue as The Merchant (Danny Mullay) recounts a tale of the tonic-enhanced bionic love machine, January (Chris Halcrow), who has selected a beautiful bride, May (Hannah Uttely) but becomes blinded by jealousy.

The deceitful May pursues other lustful urges with servant Damien (Keith Williamson), unseen. Until, that is, January’s sight is returned by Pluto (Debbie Wynn). This tale of seduction and betrayal takes place against a backdrop of Caribbean music, ballet-dancing fairies, bendy back-flips and long-limbed cartwheels – it did make sense at the time!

The show ends with the most lewd tale of all, The Miller’s Tale. Where balloons (in various states of inflation) become body parts and tavern vulgarity abounds, yet once more with a youthful glint in the eye and with much jolly sniggering from the audience.

And the winner is…. well, the MC awards the Geoffrey Chaucer Canterbury Tales Storytelling Competition Cup to himself for his slinky, devilish performance in The Cook’s Tale.

This, then, is a complex production exploring the tales through varied theatrical styles and comic traditions. It is a show of big moves, big gestures and big laughs.

The thirty strong cast portray a huge range of characters by playing several roles each. The chorus are cleverly choreographed and transform from human tableaux to supernatural creatures and from inanimate objects to flora and fauna between tales.

Props emerge from coloured boxes that double as parts of the set and Izzy Swanson (wardrobe) conjures up what must be well over a hundred different costumes.

An array of live music from bubblegum pop to bawdy beats is performed by Philip Taylor and an ever-changing set and countless props are provided by David Wagstaff and Jacqui Clark. A big, bright, bold romp it is then and one that is cleverly presented by an enthusiastic and talented cast.

And SYT’s next project? It is, I’m told, “in development”.

© Karen Emslie, 2009

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• Karen Emslie