Re:Union

When should you stay in a relationship and when should you walk away? Even if it is necessary or desired, is complete separation actually possible? Can we ever move on from the past?

Re: Union is a quartet of short plays that raises these and many other questions about conflict, compromise and change in both personal and political relationships.

The storylines focus on separation and reconciliation in the context of personal relationships, but the political subtexts and their relevance to matters of nationhood and state is clear.

Designed to mark the 300th anniversary of the Act of Union with England, the quartet premieres at a time of perceived growth in Scottish Nationalism and a potential for change in government with the coming Scottish Elections.

Each play takes a momentous historical event in a different part of the world as an inspiration. The choice of backdrops reflects the key diasporas present in Scotland and turns our attentions to what might be learnt from the past experiences of other countries in dealing with one's neighbours and partners, or former partners.

We begin with Wound by Nicola McCartney, inspired by the struggle for independence and the partition in Ireland in 1921. In this tense piece with harsh words and harsh actions, a nearly adult teenage girl charges her adopted parents with the loss, even theft, of her identity.

We then move on to Eclipse by Haresh Sharma, which contemplates the partition of India in 1947 and its effects on a family over the generations. We are treated to a performance of colourful monologues in which Umar Ahmed transforms before us into three different characters: a son; his father; and his father's father.

Inspired by the events in Croatia in 1991, the third piece, A time to Go by Selma Dimitrijevic, poignantly exposes the childlike condition in which a person can find themselves after the loss of a relationship or indeed a citizen following the loss of the Communist "Mother" State. The misunderstanding and disjointed communication between father and son are skilfully conveyed through the chosen dramatic technique and the spot-on timing of Billy Riddoch and Umar Ahmed.

The final play, Doch - An - Doris (A Parting Drink) by Linda McLean, turns our final thoughts to present day Scotland and a future which may involve separation. We are faced with family tensions, vested interests, divergent desires, attempted reconciliation, all-or-nothing attitudes and the challenge of changing perceptions: all seasoned, of course, with typically cynical Scottish humour.

Each play is interspersed with audio-visual footage that moves the audience along on their journey through history and geography, setting the scene for the next piece and suggesting even more questions and ideas to be considered along the way.

The four plays come together well, with hugely relieving touches of sharp humour cutting through the tensions carefully built and explored by the pieces.

Kai Fischer's set is delightfully simple and symbolic: a floor of levelled fragments of glass that crunch underfoot. Even the characters who attempt to commit to the idea of history as being unnecessary or best forgotten can be called back by that crunch. Be it through nostalgia or pain: history's allure and danger is ever present.

7:84 has created a work which is not just timely and nationally relevant but which also comments on much beyond our shores and this moment in history. Raising many questions, and ones that its audience will continue to return to long after the performance, we can only hope that 7:84 is able to continue making this kind of provocative theatre free from a repetition of last year's funding crisis and disruption.