The Outrun (EIF)
★★★★☆ Grandeur
Church Hill Theatre (EIF): Wed 31 Jul – Sat 24 Aug 2024
Review by Hugh Simpson
The Outrun, from the International Festival and the Lyceum at the Church Hill Theatre for the whole three weeks, is a hugely ambitious, beautifully staged and extremely impressive production.
Amy Liptrot’s 2016 nature memoir about addiction, recovery and Orkney may not always seem the most obvious candidate for dramatic adaptation, but has clearly struck a chord.
The Outrun. Pic: Mihaela Bodlovic
There is a film version about to be released, but Smith’s connection with the book goes back a lot further than that. Anyone who was at the 2017 performance in the Lyceum and Book Festival’s much-missed Playing With Books strand would have realised that a ‘proper’ dramatised version one day was very much on the cards.
To put such a deeply personal, introspective work on the stage is always going to be tough, but Smith and director Vicky Featherstone have succeeded admirably. The story of self-delusion and self-examination is contrasted with grand, almost epic vistas courtesy of Milla Clarke’s set design, Lewis den Hertog’s video design and a chorus who perform Luke Sutherland’s music, where clear, almost medieval harmonies overlay the thrumming bass of the sound of the clubs.
incessant rhythm
Even when speaking, the words of the chorus approach the texture of music, and the whole production has an incessant rhythm. Kev Murray’s sound design and Lizzie Powell’s lighting add to the atmosphere, with Vicki Manderson’s movement design creating striking images.
The Outrun. Pic: Mihaela Bodlovic
The central character – Isis Hainsworth’s unnamed Woman – is on stage throughout, narrating her story with energy, grace, clarity and open-hearted emotional vulnerability. The other characters also have no names, and in most cases little in the way of introduction or explanation as they slip in and out of the nine-strong chorus. This works because Hainsworth’s character is so clearly the focus and we really only see these characters as she does.
unhurried and striking
It also succeeds because of the quality of the performers – Paul Brennan dignified as her father, Seamus Dillane heartbreaking as a boyfriend, the excellent Alison Fitzjohn as a fellow addict, the ever-impressive Reuben Fitzjohn as a scientist on Papa Westray, the marvellous Ros Watt as a childhood friend.
There is still a slight disappointment that these characters are so extraneous to the action, and a feeling that without a slightly less accomplished cast the production might feel less well balanced.
The Outrun. Pic: Mihaela Bodlovic
Here, however, it sweeps along, to the extent that 100 minutes straight through rarely seems too much. Featherstone’s direction is unhurried and striking; there are times when characters are in conversation seem to be standing a mile apart, which not only reflects the characters’ mental states or lack of mutual awareness, but also adds a certain painterly quality to the visual.
A simple description of the play probably makes it sound harder going that it is. It certainly faces up to the subject matter, including harrowing descriptions of sexual violence or alcohol-induced blackouts and seizures, but ultimately it is more about honesty, hope and possibility.
Running time 1 hour 40 minutes (no interval)
Church Hill Theatre, Morningside Rd, EH10 4DR (EIF)
Wednesday 31 July – Saturday 24 August 2024
Daily (not Suns) at 8.00 pm; Matinees Thurs 8, Sat 10, Sat 17, Sat 24 at 3.00 pm
Part of the Edinburgh International Festival
Details and tickets: Book here.
The Outrun. Pic: Mihaela Bodlovic
ENDS
