Armour – A Herstory of The Scottish Bard – Edinburgh Festival Fringe – theSpace @ Jurys

Armour – A Herstory of The Scottish Bard continues at theSpace @ Jurys until 25 August (not 19).

Star rating: four stars ★ ★ ★ ★ ✩

Comprising recent graduates from the Royal Conservatoire of Scotland, Fearless Players is a female-led collective of actors, writers and theatre makers, taking an insightful look at some of the women in the National Bard’s life.

There is a sense of the ‘strolling troubadour’ in the staging of this show as it is literally packed in a suitcase.  Beginning long after the death of Robert Burns, his granddaughter, Sarah (Nina Gray) recounts her time spent as a child visiting her Granny in Dumfries – the eponymous Jean Armour – shortly after her grandfather’s death.

During the course of the time Sarah visits Jean Armour, there is a meeting between her and Nancy Maclehose – more widely known as Clarinda, Burns’ muse and lover.

The characterisation is excellent across the piece. Gray’s observation of ‘child’ is very well realised. Lori Flannigan as Jean Armour has a warmth and dignity about her that is both beloved granny and grieving widow. Lydia Davidson is immensely likeable as Nancy and plays a range of supporting minor roles with clear distinction.

Thankfully, there are no microphones used in this intimate production. All three women have wonderful voices that blend exquisitely. Flanigan’s vocals, in particular, have a warmth and contemporary sound that make even the traditional Burns songs sound new and fresh to the ear.

The music is strong – Shonagh Murray’s compositions and arrangements are perfectly matched to her book and lyrics. She’s also eminently watchable as she is engaged in every beat, be it sung or spoken.

The scenes between Jean and Nancy are delivered very well – you could cut the air with a knife at their first meeting.  Uniting in their complaints about Rabbie Burns, the man, they are also united in their love for him in equal measures. If the book had more support of the story leading to the second meeting the necessary bridge could be built between the two pivotal scenes.

Similarly, it’s always difficult in writing a play based on historical events to step away from historical signposting. The ‘dispersal’ of Burns’ possessions is detailed both in the prologue and again in direct dialogue. The more personal anecdotal style fits with the direct dialogue and could lose the reiteration of what happened.

Directorally, the pace could handle a little more variety and awareness of sightlines, but Melanie Bell brings the cast together very well indeed, particularly in the changes to denote passage of time and change of location.

Heartfelt performances from all three of the women, supported by excellent and sensitive keyboard playing holds the audience spellbound. And the next time any of us toast the bard, we shall, indeed, remember his women too.