Katherine, Edinburgh review — exceptional entry in Rona Munro’s Scottish history series

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Rona Munro’s James Plays have been heralded as Scotland’s answer to Shakespeare’s histories: seven works, six staged so far, spanning two centuries of the house of Stuart, from the ascension of James I in 1406 to the union of crowns in 1603. The first three were big hits for the National Theatre of Scotland a decade ago. The fourth was staged in 2022. The sixth — Mary — received a production at the Hampstead Theatre in 2022 but is yet to be seen in Scotland.

This is the fifth — and it is utterly unlike any of its predecessors. Where the first four were epic, James V: Katherine is intimate. Where they were expansively staged with swords and scabbards, this is a slick and stylish chamber piece. They occupied Scotland’s largest stages: this is off on a fast and furtive tour of smaller spaces and rural venues, starting at the Studio in Edinburgh.

It is set in 1527-28, with the Reformation rearing its head across Europe. Patrick Hamilton, a Lutheran preacher, gets married then is swiftly burnt at the stake in St Andrews. His 19-year-old sister, Katherine, refuses to recant and is taken to Edinburgh to be tried. She amuses the court, agrees to deny her faith in a private meeting with the king, then flees to Berwick upon Tweed. This much is, probably, true.

Munro’s play imagines the conversations — between Patrick and Katherine, between Katherine and the court, between Katherine and James V. Most significantly, she invents a romantic relationship between Katherine and Patrick’s widow, Jenny. Yes, it is a liberty, but it is one that lends the work potency and passion, and, as a programme note from historian Ashley Douglas observes, is not entirely without precedent. The result is a gripping 75 minutes that distils the defining issues of 16th-century Scotland into a moving and meaningful debate about faith, zealotry, politics, courage and love.

Orla O’Loughlin — former boss of the Traverse Theatre — takes things in a totally different direction from Laurie Sansom, who staged the first four instalments. Her stripped-back production wisely eschews trad tabards and wooden tables in favour of chic Mad Max get-ups and a minimalist design. Becky Minto’s set is a dark square ringed by candles. Derek Anderson’s dusky lighting and Danny Krass’s fidgety score shift the scene around Scotland. When not performing, the cast watch intently from the side of the stage. The tension is acute.

The four-strong ensemble is excellent, too. Catriona Faint has a fierce, flinty charisma as Katherine, and an enjoyably blithe sense of humour. Alyth Ross is innocent and insightful as Jenny. Benjamin Osugo is dogmatic and precise as both Patrick and Spence, Katherine’s ecclesiastical prosecutor. Best of all, though, is Sean Connor’s turn as James V: a swaggering teenage tyrant, grimly grappling with great matters of religion.

Four fine performances in a fleet and fascinating work. Munro’s James Plays are one of the defining achievements of the last decade in Scottish theatre. This is the best yet.

★★★★☆

The Studio, Edinburgh, to April 20, then touring, capitaltheatres.com