Theatre Alba

Thenew
Edinburghguide.com
15 November 2001
Reviewer - Thelma Good

Interesting but problematic play

Kristin Smith radiates as Tennoch, later called Thenew, giving a real sense of the power of this character's innocence and certainty in this interesting but problematic play.
Written in *Scots the play's scope is hampered, as are all plays in Scots at the moment, by the paucity of known Scots vocabulary which can be understood today. In trying to convey an unknown story, subtletie of conflicting religious beliefs and the emotional life of an eventual saint, the play is ambitious. But the play is ultimately hamstrung - not because the Scots is hard to understand but because the vocabulary which can be used is too limited, Edwin Morgan's Phaedra has the same problem. The Scots language teaching in Schools, just beginning to be initiated, will hopefully expand this native tongue back to its long lost breadth.

Thenew lived in the Scotland of the Dark Ages, 500 years after the birth of Christ. Margaret McSeveney's first play of a proposed trilogy covers only one summer in her life. It's the summer the 14 year old returns to her pagan father King Lot after being brought up at her uncle King Arthur's court. She has returned with wishes for her future which conflict with both her father's and mother's desires.

With New Age style music, atmospheric lighting and encounters with Graine, the Goddess of Creation this play often suggests or tells of metaphysical and religious dimensions rather than enabling us to feel or sense their impact in the play.

Better realised are Tennoch's scenes with Old Thenew, played with wisdom by Eliza Langland.
The more natural scenes where we see Tennoch with the two young men, Deni and Ewan are very engaging. James A Tennant is moving as Deni the mute Swineherd communicating so much depth with Tennoch using only his grunts and gestures. Ewan is the suitor her parents want her to take and Sean Kane gives him an attractive playful air which works well in their first encounter as children. Less successful are the scenes where disputes arise, between Tennoch and her parents as well as Ewan. Like toddlers with few words to their command, these scenes too often end histrionically.

The play raises a tantalising glimpse to a time and a language we have neglected and near forgot. Directed with skillful use of the Netherbow's interesting spaces by Charles Nowosielski, it ends with a memorable scene where the waters of the Forth take Tennoch off to become Thenew, whose name survives as St Enoch.

*The playwright herself says in a programme note that at the time inhabitants of the area we now call the Lothians would have been speaking Old Welsh.
© Thelma Good