Written by Kevin MacNeil

Directed by Matthew Zajac

Touring Scotland, tickets available from Dog Star Theatre: http://www.dogstartheatre.co.uk/the-stornoway-way.html

Endlessly lyrical, Kevin MacNeil’s take on his best-selling novel lends itself to the musical format well. With each song have originality in composition, with a few notable exceptions standing out as clear favourites. To hear Gaelic sung in a natural form, with new arrangements, is a fitting match for the production. Encouraging a rejuvenation with a language by infusing it’s archaic, island tones with fresh lyricism. Naomi Stiratt, Chloe Ann-Tyler and Rachel Kennedy’s vocals, particularly in Gaelic, are a staunch reason for The Stornoway Way’s moderate success.

Awash with colourful characters, we first open on the cold, brisk blue Isle of Lewis. With a drink rich community, everyday life centres on the pursuits of merriment, ‘chicken’, and a further chaser to follow the first one. Chicken, a term for Famous Grouse Whiskey, is a lifeblood for the islanders. It’s a warming agent, a talking point for communities, and as the inhabitants gather to sing, talk life and, well, you guessed it – drink, it feels as though The Stornoway Way takes from Local Hero on its opening up of the outer Hebrides and Isles of Scotland. In reality, it plunges focus onto a singular, not very likeable, but roguishly charming hero – Roman.

Dreamer, romanticist, narcissist, and all around, a bit of an arse. Roman is the guy many would envy, charismatic with his deliberately misleading Gaelic, terrific vocals courtesy of gender-bending cast member Stirrat, but his reliance on a liquid crutch is one all too familiar. Forever patient, friend Eilidh is understandable in her frustrations with helping Roman achieve his dream by travelling to Edinburgh to record an album, only to be abandoned in return.

Maintaining a focus on Roman’s downward spiral into depression, fuelled by his love of the dram, the stage adaptation also attempts to divert a small amount of attention away. Aiming to secure further character development, as well as shoehorn in additional songs, it’s a double-edged premise. For the occasional character, such as Eva, it brings biting commentary and gripping drama, which was sorely lacking. Unfortunately, other character decisions fail to add much, eking into the length of the show which stretches itself excessively.

Roman’s characterisation fails in one key element, and it has nothing to do with performer Stiratt, who garners all she can. The issue is that the character’s motivations, while identifiable in people we encounter in day to day lives, are weak. The isolation of an island community isn’t built enough to offer a reason to extend sympathy. Psychologically, the darkening clouds surround Roman, hastening his toxic masculinity, but it isn’t until his argument with Eva where we get a sense of the self-obsessive, self-destructive manipulation he is capable of. Both Stiratt and Ann-Tyler are giving out a tremendous amount more than the script offers. Building to the keenest performance with Ann-Tyler’s broken, tired strumming’s of the guitar, lamenting her good intentions.

Its dramaturgy fails to fully capture its intention, shifting focus to the big city for a fish out of water narrative, it leaves behind an island setting – wonderfully designed, built as an aetherial, solitary space. Multi-purpose, lit wonderfully, its use as various locations is inventive, shifting from Edinburgh pub, Island chapel or ocean waves. Setting for the final scene, a remnant of what the entire production should have shifted towards, an amalgam of desperation, yet freedom is a touching moment.

Shifting to the stage, The Stornoway Way’s attempts at meta-commentary on theatrical tropes are a welcome addition, but one too many waters the joke. It reduces the narrative to contextualisation, bordering on panto territory, explaining far beyond what is required. It so desperately, valiantly wants to illustrate the dangers of alcohol’s seductive appeal, that it disconnects from the story to pursue this venture. Scatterings of investible songs, with some powerful performances, make MacNeil’s stage adaptation a venture worthy of pursuing, no doubt improving with time.