Ellen Leslie
Following the success of their previous show Devil’s Point, Cutty Sark Theatre return to the Fringe with their latest queer horror Turn The Cloth. Set in a small Scottish town in 1989, the show follows teenagers Eilidh (Niamh Cox), Kirsty (Emma Comfort), Maura (Isla Rose Perkins) and Blythe (Greer Montgomery), and explores how a well known legend has shaped their values and beliefs.
An ancient folklore story warns that a kelpie will appear on the first storm of winter, disguised as a handsome man, seeking to abduct an eligible bride. For centuries, the unmarried women in their town have gathered in the town hall to turn the cloth, a ritual believed to ward the spirit off and keep them safe. When Blythe does not turn up to the meeting, Maura begins to worry, and the girls turn to heated arguments about the kelpie’s existence, societal norms and the future.
The script is brilliant and creates nuanced, complex characters. Eilidh and Maura are complete opposites: where Maura longs to escape their village, believing the ritual of turning the cloth is a way to oppress them, Eilidh enjoys their traditions, seeing it as a way to honour themselves and the women who came before them. Maura’s swearing and rebellion clashes with Eilidh’s religious values and desire for a peaceful life, and it’s very entertaining to watch them bicker.
Folklore and fairy tales are almost always heteronormative, so it is refreshing to see LGBT+ representation in the show. Maura and Blythe’s blossoming romance is very sweet, their feelings for each other clear from their first scene in Blythe’s bedroom, even if Maura doesn’t accept it yet. Their romance is portrayed very chastely, serving as a reminder that these young women are still teenagers, despite their worries about marriage being a main theme in the show.
Lots of attention has gone into the costuming, which matches perfectly with the girls’ personalities. Eilidh’s wedding dress is very prim and proper, buttoned up to her neck and trailing along the floor, while Maura’s is shorter with a lower neckline. At first glance, it looks like Kirsty is wearing a normal dress, which is fitting considering her fear of men and reluctance to marry.
But it is Blythe’s costume when she enters the hall that is truly stunning. Her wedding dress is huge and puffy, and combined with her grey toned makeup, she looks possessed. Montgomery leans into this, adopting a wide-eyed blank stare and delivering her lines in monotone. The pacing of the play is perfect here: there are longer gaps between lines, allowing the horror of the situation to completely sink in. The play’s one tiny downfall is the ending: we don’t find out what happened to Eilidh or Kirsty, which is disappointing considering the important roles they played earlier in the show.
Turret at Gilded Balloon’s Teviot Hall is the ideal venue; walking up the winding stairs and entering a small room akin to a cupboard gives the audience a sense of nervous anticipation. The warm lighting above the stage is reminiscent of candlelight, and the sound of water dripping into a bucket is almost menacing. Coupled with Eilidh and Kirsty’s entry on stage, wearing wedding dresses and singing a haunting waulking song, it’s the perfect atmosphere for the spooky tale.
Creepy and compelling, Turn The Clothcombines strong acting with a great plot to tell a story that will send shivers up your spine. If you’re a horror fan, it’s a must watch this Fringe.
Recommended drink: a bottle of pink Lambrini, preferably drunk straight from the bottle while watching a horror film in your best mate’s bedroom.
You can catch Turn The Cloth at The Turret at Gilded Balloon, Teviot from 5th-31st August at 14:30 (45 mins). Tickets are available through the EdFringe Box Office.
Image Credit: Sophie Gattis
Please Note: This review features a show where another member of the Binge Fringe writing team is involved in the production. No incentives or promotions have been offered to cover this show, and Conflict of Interest measures have been taken in the editorial process to ensure an impartial, fair review.
Great Dayne Productions
Esme Davis
Salvador Kent
