An Tobar and Mull Theatre bring to the stage an adaptation by Shireen Mula of the 2011 novel of the same name by the excellent Sarah Moss. Set on a remote Hebridean island, the one woman play centres on Anna, passionately portrayed by Nicola Jo Cully, who also does the impressive feat of voicing of every other character. Anna and her partner Giles have moved from England with their two young children to experience a different pace of life in her partner’s ancient family home. While Giles spends his time checking on the local puffin population, Anna, instead of doing her own academic work, spends her days in extreme frustration at being at the beck and call of their baby, and their precocious older child, Raphael. A grim discovery in the garden when out planting with Raphael triggers the uncovering of a fascinating series of events.
Aspects of the set from designer Hugo Dosworth are over literal, not allowing enough to imagination but his visuals, shown on two screens that corner the stage, add authenticity with wild rural scenes, in front of which a chaotic table holds Anna’s laptop that barely gets open before a child interrupts. Her stress and frustration, not helped by lack of sleep, is deeply felt and strongly expressed by Cully, exemplifying the dilemma of modern motherhood for women who have found satisfaction in a career only to have it halted.
Without having read Moss’s book, it is impossible to say how her narrative unfolds, but the interweaving of past and present must feature as it does in this adaptation. Again with the aid of visuals, the tale loops back and forth in time creating a strong link with the past. Anna’s academic skills come in to play as discovered old letters that contain vital revelations expose not just the superstitions of the late 19th century in remote Scotland but allow for the interweaving of Giles’ family’s past with current events. For example, does Anna see a connection to Moth’s constant crying to folklore about so-called grey people or changelings? There is a meld of historical comment involving the Highland clearances, the attitude of the laird who was Giles’ ancestor and therefore English colonialism. The testament of a 19th century crofter whose words appear in Gaelic with English translation is a strong but subtle comment on the suppression of a people.
Rebecca Atkinson-Lord, Artistic Director and Chief Executive of An Tobar and Mull, directs this ambitious and praiseworthy if over long play whose use of repetition and circularity surely allowed for more brevity without losing impact.
Night Waking opened at An Tobar and Mull Theatre and this review is based on the performance at the Traverse Theatre Edinburgh on Wednesday 1st October.
Running time: 2 ½ hours including interval
Age recommend: 12 +
Full tour details at An Tobar and Mull Theatre
Irene Brown
Radio Summerhall Arts 