I Am Thomas – Royal Lyceum Theatre, Edinburgh and Touring

I Am Thomas at the Royal Lyceum Theatre, Edinburgh and Touring

I Am Thomas continues at the Royal Lyceum Theatre, Edinburgh until 9 April, and then tours until 30 April.

Star rating: four stars ★ ★ ★ ★ ☆

It might, at first, appear an affectation on the part of London-based theatre company Told By An Idiot to describe I Am Thomas – a co-production with the National Theatre of Scotland and the Royal Lyceum Theatre in Edinburgh – as ‘a brutal comedy with songs’ rather than ‘a musical’. Yet it’s actually quite appropriate: this rowdy, at times genuinely moving, Brechtian exploration of the life and death of Thomas Aikenhead – the last man in Scotland to be executed for blasphemy – is far from straightforward musical theatre.

It’s certainly shows little respect for historical verisimilitude. Late 17th century Edinburgh is smashed together with the last 50-plus years of British culture in the best Horrible Histories fashion; Aikenhead’s story being regularly described through the distorting lens of a cliché-ridden Match of the Day commentary.

Cast members are, for the most part, dressed in 20th century clothes – sometimes restrained 1950s tweed, sometimes 1970s Bay City Rollers tartan – while Adrienne Quartly’s sound design includes numerous samples from classic films including Goodfellas and Monty Python’s Life of Brian.

The general musical approach is also more sensitive singer-songwriter than crowd-pleasing showstopper, though composer (and performer) Iain Johnstone and lyricist Simon Armitage nevertheless prove that they can provide the big numbers when required – not least an opening which essentially sets the tone by angrily asking: ‘Thomas Aikenhead, who the fuck are you?’

Aikenhead is unambiguously presented here as a martyr to freedom of speech, brought down by vindictive, tyrannical forces symbolised in the shape of the-then Lord Advocate Sir James Douglas Stewart. The universality of Aikenhead’s role is signalled by having him played, successively, by every member of the ensemble – the role often passed (not always willingly) along with a prop or musical instrument. While clearly enough choreographed on stage, this nevertheless gives the show a slightly unbalanced feel, given that the other major roles are not shared.

Many characterisations are necessarily broad and shallow, though usually anchored in some emotional reality. While some members of the ensemble are clearly better singers and musicians than others, they’re all employed sensibly; Myra Mcfadyen, in particular, provides a mournful lament to proceedings, while John Pfumojena’s crystal-clear vocal gymnastics are put to good use in a conclusion that – if a tad too long – nevertheless leaves a real impression.

I Am Thomas is undoubtedly fun entertainment with fire in its heart, created and performed by a talented and enthusiastic team. All of which makes it somewhat disappointing that director Paul Hunter occasionally shows restraint when he perhaps shouldn’t.

Given the title, the show’s creators are clearly – deliberately – riffing on the global ‘Je Suis Charlie’ response to the murderous attack on French satirical magazine Charlie Hebdo, and yet step back from adapting its most iconic usage as Twitter hashtag.

Also, at notable points during Act I, a stick figure is slowly scrawled in chalk on the set, like a game of hangman – but left unfinished and forgotten during Act II. A punch pulled unnecessarily.

Paul Cockburn

www.toldbyanidiot.org/productions/i-am-thomas