Confessions of a Justified Sinner

“There are only bones left – bare bones!” says the policeman in wonder at the end of “Confessions of a Justified Sinner”, and it is this statement, made only a few hours after he has found a complete body which seemed no more than six months old, that gives us an insight into how Mark Thomson has reworked this great James Hogg novel. For this is a minimalist production, stripped of excess emotion and portrayed in a rigorously intellectual way. The Neil Murray set of grey monolithic slabs are bleak,austere, just like the bleak austerity of Reverend Wringhim’s theology. Kern Falconer is a suitably dry Reverend, a man of uncompromising belief, and fundementalist opinions. He it is who informs the boy Robert that Robert is chosen, elect, destined for Heaven – and nothing will change that. Enter Gil-Martin (Iain Robertson) – devil, alter ego, wicked doppelganger – who assures Robert that as a result he can do exactly what he pleases, no matter how wicked. There is a constant fog over the whole production (water-based smoke, will not irritate the audience, we are assured) a fog that in this case is not of uncertainty but of the misguided certainty that clouds the thinking of Robert and the Reverend. There is also a very subtle background soundtrack, almost subliminal, from Philip Pinsky that adds greatly to the dark deeds that are unfolding onstage. There is humour from the present day police who start and end this play, and a marvellous comic monologue from Samuel Scrape ( Lewis Howden) as to the diabolical po-faced misguided rightousness of the good people of Auchtermuchty. Otherwise, this is a dark play, with much to say about religious fanaticism that is sadly only too relevant today.

Lyceum Theatre until November 7th