The Cone Gatherers is a haunting tale of good versus evil, and demonstrates the destructive power of envy and prejudice. Read more …
This classic Scottish novel tells the tale of two brothers gathering cones in a forest on a Scottish estate in order to replenish the trees felled for the war effort. Neil, and his hunchbacked brother Calum, lead happy and contented lives in these beautiful surroundings, completely detached from the destruction of the Second World War. However, their innocence and happiness is threatened by the dark, obsessive hatred of Duror, the gamekeeper and the deep prejudices of the class system of the time. The obsessions of Duror grow stronger throughout the story, building to a devastating climax.
Robin Jenkins’s greatest novel is brought to life by the creative team behind His Majesty Theatre’s two critically acclaimed productions, Sunset Song and The Silver Darlings, in a brand new adaptation by Scottish dramatist Peter Arnott.
While designer Hayden Griffin creates an illusion of the forest's enveloping darkness by projecting images on to rows of vertical ropes, director Kenny Ireland builds enough tension for the tragic ending to draw audible gasps.
Peter Arnott's new adaptation takes all of Jenkins's concerns about class, good, evil and the self-destructive fear of otherness on the one hand and an empathetic desire to transcend one's own station on the other, and makes a serious statement on the human condition.
There’s something about the show that seems theatrically lifeless, and oddly distant.
The Cone Gatherers becomes a production which, like gamekeeper Duror, struggles to understand what it is or where it fits in in the world; it never fully commits to being a period drama, or a play with songs, or a symbolistic ballet, or a straight play. It feels lost in the woods of its own creation.
Theatrically, Ireland's production feels at times rather disjointed, covering up for large chunks of exposition in Arnott's text with incongruous sung passages and a couple of dance sequences that verge on the unintentionally funny. One element that does work well, however, is Hayden Griffin's impressionistic forest set.
Hayden Griffin’s innovative set enhances the chilling atmosphere and traumatic denouement.
Nothing can match reading Jenkins’ powerful, original text, but this latest production is an important and timely reminder of the dangers of how people who are ‘different’ are viewed.
Ireland’s diversion towards a new protagonist takes the piece in an odd direction, possibly to emphasise socio-political prejudice in an age of neoliberal malaise. Chiefly, it is this idea that’s under the spotlight, leaving the production frustratingly short and bland.
Tom McGovern discusses his role in a new adaptation of The Cone Gatherers
A neglected master who's taking centre stage at last.
His Majesty's Theatre, Aberdeen from Monday September 17, 2012, until Saturday September 22, 2012. More info: www.hmtaberdeen.com
Theatre Royal, Glasgow from Tuesday September 25, 2012, until Saturday September 29, 2012. More info: www.theambassadors.com/theatreroyalglasgow/
Eden Court Theatre, Inverness from Tuesday October 2, 2012, until Saturday October 6, 2012. More info: www.eden-court.co.uk
Dundee Rep Theatre, Dundee from Tuesday October 16, 2012, until Saturday October 20, 2012. More info: www.dundeereptheatre.co.uk
King's Theatre, Edinburgh from Tuesday October 23, 2012, until Saturday October 27, 2012. More info: http://www.edtheatres.com/kings
Perth Theatre, Perth from Tuesday October 30, 2012, until Saturday November 10, 2012. More info: www.horsecross.co.uk
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