Venus as a Boy

When a work of fiction is adapted for the stage, the author will be involved at some stage, whether in approving the final text or just selling the rights.

There's no doubting the extent of Luke Sutherland's involvement in this mesmerising production of his novel Venus as a Boy. He appears onstage during every performance, providing musical accompaniment to Tam Dean Burn's vivid telling of his fantastical story.

The ferocious score, part live fiddle and guitar, part pre-recorded (and including a truly life-affirming burst of Prince), is tremendous.

Burn begins the performance out of character, indulging in some contemporary myth-making before transporting the audience to Orkney and the childhood of the title character, aka Des'ree, or Cupid. He acknowledges that he might not be an obvious choice for the 'beautiful Orcadian boy' the novel describes, making it all the more astounding when he transforms into the supernaturally gifted Cupid as well as every other character in this atmospheric tale of love, sex and magic.

This isn't a gay story, or a straight story, or in any way a straightforward story. As a result, it feels like the genuine biography it purports to be. Cupid is neither saint nor sinner, and his relationships are complex and contradictory.

Pamela McBain's set and costumes are perfect ' a wardrobe full of glittering pieces remains tantalisingly untouched until Cupid reaches Soho, and begins touching anyone with the cash. The story is a memorable one, but the audio and visual elements of this production make it unforgettable.

A shining, shimmering example of National Theatre of Scotland funding being put to excellent use, facilitating the work of two outstandingly talented Scottish artists.