Devised and performed by Kieran Hurley, Gav Prentice, Julia Taudevin and Drew Wright. Read more …
A retired American steps off the plane at Prestwick, hoping to discover the land of his fathers.
A beleaguered politician in Edinburgh dips her feet into a hot bath.
An old drunk man in Peterhead has a mystical vision at the harbour.
A supermarket checkout girl in Port Glasgow approaches work with a golf club...
Set specifically in the town of each performance and drawing on storytelling, live music and the Scottish folk tradition, Rantin attempts to stitch together visions of Scotland’s romantic past with its ever-changing present reality, revealing the patchwork identity of a nation.
Originally presented as part of the Auteurs project, a collaboration between National Theatre of Scotland and the Arches, and Behaviour 2013 with support from the Esmée Fairbairn Foundation, Rantin is part cosy living room gathering, part play, part gig session.
Shafts of insight and laughter-raising wit balance writing that is occasionally pompous or preachy and often verges on maudlin.
This is a warm, poised and heartfelt attempt to remind us that we get nowhere by over-simplifying our story; that the story continues, that we are all part of it, and that none of us – fortunately – has any idea how it will end.
A worthwhile and thoroughly engaging evening.
In a National Theatre of Scotland production that implicitly values community and the act of singing along, the message that "all our futures are shared" is ripe with promise.
The show succeeds in painting a recognisable and diverse picture of Scotland. However, there is an irony in Hurley’s observation that it is consciously carrying more stories than it can contain. So loose is the structure of this short piece that it flags palpably, and runs out of steam half-an-hour before its end.
At times it feels a little contrived, with characters undergoing predictable story arcs, but there’s heaps of charm to compensate. It makes sense that Rantin is touring to Scotland’s smaller towns and venues: it is peppered with tales from all corners of the country and will likely enchant an equally diverse range of theatre-goers.
Not an unqualified success, sadly, on technical terms, as the acoustics and sound design mitigated against total clarity. But when it calls for engagement and performance, then Hurley’s laconic way of weaving a line of words into an articulate pattern; Taudevin’s immersion into character and clear singing voice; Wright’s storytelling and singing, and Gav Prentice’s musical and voice, it is all there.
To be fair, as this reviewer headed for the exit, it was clear that the company were receiving a standing ovation from a largely young audience, and while there may be a generational gap in taste, it’s undeniable the cast did its level best to carry the piece over its ninety minute length.
The tales vary in depth and, therefore, effectiveness and are too often heavily laden with pathos. The informal structure of the piece also struggles to carry the sheer quantity of material. Consequently, about an hour in, this uneven, if engaging, show begins to outstay its welcome.
Although it may not be a political piece, it is a play for Scotland’s present and for Scotland’s future. A play for the power that each individual voice should have, even if they don’t realise it.
Kieran Hurley's Rantin explores Scottish identity through '21st-century ceilidh play'
Rantin' on tour
Rantin kicks off NTS referendum year programme
On Tour, from Friday January 24, 2014, until Saturday March 1, 2014.
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