There Will Be Blood: A Review Of Scottish Opera’s Anthropocene…

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The first opera I reviewed for Scots Whay Hae! was Scottish Opera’s The Devil Inside, an adaptation of Robert Louis Stevenson’s The Bottle Imp, which was a collaboration between writer Louise Welsh and composer Stuart Macrae. Not only was it a wonderful marriage between Scottish literature and opera, but it introduced me to an art form about which I had previously known little but have now come to love. With that in mind I was excited by the prospect of Welsh and Macrae’s latest opera, Anthropocene. This time around it is an original story, and knowing Louise’s written work well I expected the unexpected. What I didn’t expect was what unfolded.

One of the things I have come to learn about opera is that it is more often than not a wonderful yet visceral assault on the senses – the sights, sounds, sets, and singing combining to affect you emotionally, but also physically. This makes it the perfect platform for Welsh’s gothic sensibilities and Macrae’s memorable music. Anthropocene is a horror story set on the boat of the same name which is on an exploratory voyage into the heart of the Arctic, with the ice closing in making the disparate crew prisoners. Continue reading

One Green Bottle: A Review Of Scottish Opera’s The Devil Inside…

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In 2013, Scots Whay Hae! and the Association Of Scottish Literary Studies collaborated in a series of recordings to commemorate Robert Louis Stevenson Day. Writers Alan Bissett, James Robertson and Louise Welsh read a Stevenson short story each; ‘Thrawn Janet’, The Tale Of Tod Lapraik’ and ‘The Bottle Imp’ respectively. ‘The Bottle Imp’ was already a favourite for Welsh, but reading it aloud must have bonded her more closely with the malevolent sprite as it appears she couldn’t leave it alone for long. She had to return to it at least one more time.

The result, in collaboration with composer Stuart Macrae, is Scottish Opera’s co-production with The Music Theatre of Wales, The Devil Inside, a dark, unsettling and unexpectedly moving production, which opened in Glasgow’s Theatre Royal this week. It is mesmerizing from start to end as words, music, performance and setting all work together to present this deceptively simple tale in such a manner so that the unfolding horror is heightened rather than unnecessarily distracted from.

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