In the early 1970s, John McGrath’s The Cheviot, the Stag, and the Black, Black Oil toured in theatres across Scotland. A political drama focusing on exploitation and economic change in Scotland, the story fittingly begins with the Highland Clearances. This naturally segues into the introduction of the eponymous Cheviot sheep and the rising popularity of stag hunting, eventually replacing the land’s arable crofters. Through music, dark humour and real-life interviews, McGrath connects the exploitation of those affected by the Clearances to that of those who were witnesses to (and potentially exploited by) the North Sea Oil Era. 

We were not around to witness the Highland Clearances. But many of us did grow up during the Black, Black oil era of the early 1970s and certainly wonder whether Scotland could have benefited more from oil, akin to our Norwegian neighbours.

Well, maybe it’s time to produce a more positive, less political, play to tour Scotland: The Tree, The Sea, and The Green, Green Prop. A play that heralds a new era by looking to a future that’s post-subsidised sheep, post-shooting estates, and post-oil. A play for the green revolution. Having a bit of an obscure title to appeal to regular theatregoers, you may say. A clear explanation would certainly be necessary.

The Tree

Did you know that Scotland has the land capacity for about 5 billion more trees? At the moment, we  have about 2 billion. Sadly, our forests only represent 18% of the land versus Sweden’s 70%. It’s about time that all 5 million of us planted a thousand trees each, or that we ask someone to do it on our behalf! The Tree is Act I in the optimistic play for the future. While the simplest of the Acts, the beginning would involve a very lively scene acted out by commercial foresters, landowners, those interested in rewilding, crofters, and politicians trying to broker between those vested interests.

The Sea 

Forestation is a good opening Act, Act II could be much longer and much more profound. Land represents 30% of the earth’s surface. And 11% of that land is already used for food production. The sea is where the future lies for many things. 70% of the earth’s surface is water and we are only scratching the surface. Take marine food as an example of this, with Scotland adhering to mainly traditional, simple fishing practices. By the way, did you know that Scotland has a longer coastline than China?  Hence why our Scottish play’s second Act would be quite simply titled “The Sea”. 

Act II features not only traditional fishermen and fish farm managers as its leading men and women, but would also showcase a new set of young actors, to represent seaweed, asparagus, and fruit and vegetable aqua-farmers, and a set of marine entrepreneurs from companies such as Agrisea and the Italian Nemo Garden Project. Quite a lively scene with a debate between the traditionalists and the new marine entrepreneurs. 

The Green, Green Props

Our third and final Act is the Green, Green Props. Not your traditional theatre props, but propellers. They are already glaringly obvious features on Land – some say as ugly as large pylons – as wind farms sprout throughout the countryside. But Act III also involves the hidden, experimental, underwater propellers to exploit strong tidal movements around the coast. Steady and predictable underwater tides of 6 to 10 miles an hour can provide base-load energy in a way that unpredictable wind power cannot. A complementary source of green, marine energy. A proper green revolution. Perhaps our actors could play the part of owners and workers from the Leith-based tidal power company, Nova, and debate the merits of unsighted propellers and future underwater technology development?

One scene could capture the risk that Scottish companies will follow the fate of British wind farm companies who went underfunded and had to cede leadership to Denmark, a world leader in sustainable wind technology. A scene with the Scottish Investment Bank and the Financial Services companies discussing how we are to avoid the same fate for the underwater, tidal power plants.

Land, Sea, and Air. Great assets that Scotland could do a better job at stewarding, especially if what we want is a green revolution. Maybe an aspiring playwright could pick up this new trilogy for next year’s Festival Fringe and take it on a tour throughout the country in 2021? The Tree, the Sea, and the Green, Green Prop. I’ll admit, perhaps the title is a bit obscure and difficult to promote. But whatever its title, it would definitely be a more positive play than the Cheviot, the Stag and the Black, Black Oil.

Featured image credit: Hillary Sillitto