Treason – Festival Theatre, Edinburgh and Touring

Treason was reviewed at the Festival Theatre, Edinburgh. The production then tours until 22 November 2023.

Star rating: three stars ★ ★ ★ ✩ ✩

This retelling of the Gunpowder Plot has been hotly anticipated following the concert performances at Drury Lane in August 2022. The score is challenging and calls for vocal performances of the highest order. In the principal characters, we are treated to superb singing skill and flair.

The show begins with Guy/Guido Fawkes, played by Gabriel Akamo, as our charismatic and charming narrator, detailing how he replays his life’s end in purgatory, every 5th November, as long as people remember. Philip Witcomb’s set is dark and brooding, with light coming from behind the backdrop of vertical wooden planks and candles flickering in every niche available on the series of arched doorways, framing the performance area. The suggestion of flame is never missing from the stage throughout and Jason Taylor’s lighting design not only dovetails perfectly with the set, it supports the performances perfectly.

In Sam Ferriday’s Thomas Percy, a devout yet hidden Roman Catholic, we hear of hope for all those of the Catholic faith as Elizabeth’s reign ends its course to be succeeded by King James VI of Scotland.

Thomas Percy and Martha celebrate their hidden Catholic marriage in the hope of a more inclusive future under the new king. Both Ferriday and Nicole Raquel Dennis (playing Martha) are extraordinary singers – phrasing, pitch and dynamics are outstanding.

Anne Vaux (Emilie Louise Israel) is another powerhouse of song – her modern ‘diva’ style suits the score and her character very well indeed. The duets between Anne and Martha raise goosebumps. Anne’s constancy with her faith is thoughtfully portrayed and could benefit from a further developed narrative.

In Connor Jones’ Robert Catesby, another beautifully sung performance, we meet a leading figure in what becomes the Gunpowder Plot. His performance almost makes up for the poor link with the plot as it has been revealed to the audience and the story that the show is conveying. It’s a pity to see and hear such a fine portrayal that pops up from nowhere yet is suddenly steering the story onward with no explanation.

Joe McFadden’s King James has charm and a bit of ‘swagger’ about him – he’s cheekily likeable but can turn to fury or madness in a twist of a word. The scenes he has with Oscar Conlon-Morrey as Robert Cecil inject a bit of much-needed humour; there’s a theatrical shorthand in the characters’ relationship that gives the audience a chance to be entertained on a different level. The dialogue is refreshing with political comedy inference not too far away from the Yes Minister format.  James’ ‘better together’ quip raises quite a laugh from this Edinburgh audience!

The ensemble is precise and very well-drilled in the stylised movement, vocal harmonies and changing of scene vignettes.  Several have a chance to shine in the King’s Masque to celebrate his coronation – a splendid whimsy of Elizabethan theatrical tradition.

There is a lot to admire in Hannah Chissick’s direction of Charli Eglinton’s book and Ricky Allan’s composition and lyrics with Kieran Lynn and Debris Stevenson’s additional contributions. There are still elements that could be improved in creating a cohesive and compelling piece of musical theatre.

There are echoes of other epic musical theatre pieces throughout the production. The Guy Fawkes rhyme repeats ‘gunpowder, treason and plot’ – a closer focus on these three elements would produce a stronger work.

Fiona Orr