That there is no main-stage swan-song directed by National Theatre of
Scotland artistic director Vicky Featherstone in her final season
before departing to run the Royal Court speaks volumes about her tenure
over the last six years. Because it isn't any single production which
has defined Featherstone's role. Rather, it is an all-embracing vision
which has enabled artists to be bold and to think big while
Featherstone has taken on a more diplomatic role protective of her
charges. Indeed, it could be argued that Featherstone's own creative
work has been neglected because of this.
Of the season itself, if there is an element of baton-passing, with
associate director Graham McLaren being particularly prolific, there is
also a sense that theatre in Scotland has become increasingly
exploratory. If the NTS has the resources to raise the bar, then the
talent is already there to take advantage of it. It is an attitude the
ongoing national embarrassment that is Creative Scotland could learn
much from.
Yes, there are classic plays, but they are not there to appease
traditionalists, but to breathe fresh life into already great works.
But it is the season's collaborations, with Oran Mor, Vox Motus and The
Arches, that point the way. All of these companies have led from the
ground up, and their presence in the programme is vindication for the
importance of the license to experiment beyond box-ticking.
Featherstone's final NTS season, then, is both as a summation of her
achievements and a serious pointer towards the organisation's future.
Whoever replaces Featherstone as artistic director, it remains crucial
that the NTS is not squeezed into some parochialist ghetto dictated by
its political funders. That would be a backward step, and a major
mistake. For the organisation to flourish, the NTS must remain as
expansively internationalist as its 2013 season promises to be.
The Herald, September 28th 2012
ends
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