Otter Pie

Fish & Game Theatre Company have produced a highly ambitious reinvention of Lewis Grassic Gibbon’s seminal work, Sunset Song. It takes a good ten minutes or so for the performance to begin; or at least for the performance within the performance to begin. Metatheatrical devices are generously put to use throughout the production to transform Sunset Song into a shambolic burlesque of kilts, tartan dance floors, funk music and mime.

The six young actors implore the audience to realise that the representation of life in Scotland in Sunset Song no longer exists, or at least is far removed from the hustle and bustle of city life in Edinburgh of Glasgow. With a sardonic aside referring to the novel as Gordon Brown’s favourite book, this piece rattles through Chris Guthrie’s bleak existence (at one point an entire summary of the novel is given in a five minute ceilidh), and focuses on the ensemble arguing over interpretations, metaphors and meaning in the work. The struggle to identify with this archaic text is riotously depicted in some hilarious comic sketches; Laura Bradshaw playing the tragic Jean Guthrie at one point revises Gibbon’s original language in order to proclaim, “Everything’s fucking shit!…I’m just going to go and kill these two bastard twins!” Any audience members hoping for a serene homage to this revered work of Scottish fiction will be disappointed.

Those who approach this piece with an open mind will see that Otter Pie, under the folds of comedy in which it is wrapped, asks some serious questions. This brave assault on the formerly untouchable Sunset Song is not flawless; at times it hesitates, stumbles, and trips over itself, but it nevertheless must be recognised as a step in the right direction for contemporary Scottish Theatre and a refreshingly enjoyable show.