Review: Burn

When it comes to theatrical depictions of Scotland’s national bard, many tend to centre on the celebratory and romantic, without making any kind of reference to the more problematic elements of Robert Burns' character. For this reason, Alan Cumming’s co-production of dance-theatre show Burn is refreshing in its attempt to “go beyond the poetry to focus on the man himself”, delving into the more unspoken facets of the Ayrshire poet. 

Before Burn even begins, the audience is greeted by heavy rain and lightning conjured up on stage by impressive visual effects, which foretell a darker and more melancholic take on Burns’ story. As is to be expected of the esteemed performer, Cumming is dynamic on stage in his words and movements but Steven Hoggett and Vicki Manderson’s choreography coupled with Andrzej Goulding’s atmospheric projections work to contribute to a different view of the poet, underlining his years of poverty and deep depression. 

Though Cumming’s portrayal of Burns is exhilarating, with monologues packed with power, an hour doesn’t seem long enough to tell this particular story and it doesn’t go far enough in tackling Burns’ misogyny or calling out his treatment of women. As a result, some of the fragments of dance feel restricted or cut short and elsewhere, Burns’ poetry doesn’t make as significant an appearance as hoped, though Cumming’s recitation of O, Were I on Parnassus Hill and Scots Wha Hae are both excellent. 

Hearing music from Anna Meredith’s storming Scottish Album of the Year Award-winning album Varmints, accompanied by Cumming’s vigorous and commanding movements is an undeniable highlight of this piece for its unexpected affinity. While every individual element of this production, from performance to staging, is outstanding, it ultimately could have been improved by having a little more room to breathe.