The Stamping Ground (2022-2023)

Written by Morna Young
Concept by Alan B Macleod
Featuring the songs of Runrig

Venue:  Eden Court Theatre then touring
Company: Eden Court Highlands & Raw Material Arts
Director: Luke Kernaghan
Musical Director & Arranger: John Kielty
Designer: Kenneth Macleod
Movement Director: Jade Adamson
Sound Designer: Garry Boyle

Production Manager (2022): Garry Boyle
Production Manager (2023): Ali Low
Lighting Programmer (2022): Karin Anderson
Production Electrician (2022): Rory Kay
Production Electrician (2023): Derek Anderson
Touring Electrician (2023): Amy Dawson
Set Electrics: James Gardner

Lighting Supplier: Encore

Photographer (2022): Ewan Weatherspoon
Photographer (2023): Tommy Ga Ken Wan

Kenneth MacLeod’s circular stone set, made dynamic by Simon Wilkinson’s stadium-rock lighting

Mark Fisher, The Guardian (2022)

The jagged lines that bisect the cyclorama are highlighted to great effect, working hand in glove with Simon Wilkinson’s lighting design. Pulsing like the vital signals of a patient under observation; blazing red like cracks in dried out soil and even depicting waves that chase each other around the circle

Musical Theatre Review (2022)

A powerful peat-cutting dance sequence sets the scene, with spark-effect lighting travelling inventively along lit panels. Lighting is one of the stars of the show [ … ]  sharply cut light lines in turn symbolise the sea, the mountainscape, or the metaphoric heartbeat of the land.

The Wee Review (2022)

Kenneth MacLeod’s set design is simple yet incredibly effective, and when paired with Simon Wilkinson’s lighting design it truly feels as though you are surrounded by the glorious and mystical mountains of the Scottish highlands. 

Theatre and Tonic (2023)

the flow of the burns, the winds, and the petals bursts into movement under the shadow of Kenneth MacLeod’s circular stone setting – all whilst the bolts of Simon Wilkinson’s lighting crackle around the cast.

Corr Blimey (2023)

the character and flavour of the Highland village, sweltering in an uncharacteristic heatwave, is beautifully evoked by Kenneth MacLeod (set design), Simon Wilkinson (lighting) and the excellent 13-strong ensemble

Allan Radcliffe, The Times (2022)

Simon Wilkinson’s lighting working excellently against Kenneth MacLeod’s simple, circular backdrop with its ‘big wheel’ motif

David Pollock, The Stage (2022)

Simon Wilkinson’s lighting can be romantic moonlight or full-on rock festival as the occasion demands

Hugh Simpson, All Edinburgh Theatre (2023)

Kenneth MacLeod’s set is hugely effective, with rocky crags and mountains weaving round the outskirts of a huge stone circle forming the backdrop. Coupled with Simon Wilkinson’s lighting design, which sends bolts of light around the set in the powerful first sequence set in Glenbeg, the result is imposing but beautiful – much like Scotland’s natural landscape

Lorna Murray, West End Best Friend (2023)