OneTouch Theatre, Eden Court, Inverness, 3 September 2011

IN their latest project Arthur, Wee Stories add the same distinctive touch that they imparted through previous productions Tam O’ Shanter and Is this a Dagger? The Story of Macbeth.

WHILE these do not seem like obvious titles for family friendly viewing, co-directors and company performers Iain Johnstone and Andy Cannon [Andy has just become Associate Artist, leaving Iain Johnstone as Artistic Director – Ed.] distil these classic tales into uncomplicated productions that every generation can enjoy.

Andy Cannon and Iain Johnstone do battle (photo Ewan Weatherspoon)

The Arthurian legends are gutted to their barebones, with all tales of Green Knights and Holy Grails mercifully left to one side to leave a plot that is both easily understood and engaging. The problem of an extensive character list and only two main actors is solved by the inclusion of Kellogg’s cereal boxes, which also act as props. With a coating of black glitter, a packet of cornflakes morphs into Mordred, and with a bit of shifting about, all the boxes become a throne.

This simplicity allows Johnstone and Cannon’s charm as a double act to take centre stage. The pair’s appeal as a comedy duo is not only accentuated by their Laurel and Hardy-esque height difference, but their ability to throw themselves wholly and completely into the performance and for the audience. Holding the combined attentions of a room full of under-twelve’s is a task that might make even the bravest of knights cower, but it is one which Johnstone and Cannon accomplish with ease and charisma, and a hefty amount of audience participation.

Composer and Musical Director David Trouton has written an understated and atmospheric score, making full use of everything from accordions to a kitchen spatula, while his interjections make for witty on-stage banter with the other players.

One of the real highlights of the show is seeing a live singer perform as part of the musical accompaniment. However, the twist is that the vocals are disguised as a pre-recording until a quarter of the way through the performance, until a backlight behind the projection screen reveals a mysterious lady clad in a glittering dress (Lorna Gold). She reappears several times throughout as either the Lady of the Lake or Morgan le Fay, adding an extra measure of drama.

When the story reaches more sombre moments, the transition between comedy and tragedy is made effortlessly, with the addition of a few tasteful overhead projections of tangled woods and sinister crows. While the inescapable demise of Arthur is appropriately softened for a younger audience, the overarching message of the story is not. In the conclusion, the actors make the special point of mentioning that the round table symbolises the idea that one day, everybody will be able to sit down and discuss their problems without resorting to conflict. After all, this is something that can resonate with any generation, whether in the Dark Ages, or the present day.

© Rowan Macfie, 2011

Links

• Wee Stories