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Gunshow's performance of In the Devil’s Name was created and presented in development with Puppet Animation Scotland's Testroom 2017/2018 programme. Testroom was introduced by PAS in 2016 with the support of the National Theatre of Scotland as an opportunity for Scottish based artists to develop their practice, and often culminated in a work in progress production as part of the Manipulate Festival.

Gunshow used thei process to experiment with an initial creative ideas about a 17th century Scottish historical figure, Isobel Gowdie. This young housewife from Aldearn in Narinshire is remembered not just for being tried as a witch, but for her detailed confession which was, rarely, not offered under torture and asks questions about the nature of the notorious witch trials themselves.

Artistic director Emma Anderson took this story and recognised its potential to take advantage of the fantastic possibilities offered by puppetry. Gowdie's confession claims a series of magical experiences that an actor might find challenging to portray, while a puppet could more easily imitate.

Gareth K Vile: What was the inspiration for this performance?

Artistic Director Emma Anderson: Growing up in the Highlands the story of Isobel is relatively well known, however it is rarely adapted in the arts (excluding McMillian’s Symphony; ‘The Confessions of Isobel Gowdie’).

What really set her story apart from any other witch trial in history was the detailed confession, which was supposedly freely given and without torture. However this is impossible to assume or prove. 

It was this astounding confession and the confidence it was told in that really inspired me. Everything in the confessions was aimed, I believe, to shock, annoy, and offend the religious male patriarchy accusing her. 

She knew that once branded as a witch it would be impossible for an innocent verdict, at least she could enjoy a little revenge before facing her own demise. For her, hell, very much, hath no fury.

She antagonised her accusers to such a gloriously boiling limit; she proudly admits to not only making a pact with the devil himself but making love to him in the graveyard of the church. Her bravery (or madness) in the face of an unrighteous, religious male patriarchy is the main inspiration for the work.

Gareth K Vile: How do you feel your work fits within the remit of the manipulate festival?

Emma Anderson: Isobel Gowdie claims to have flown through the air on a corn stalk, transformed into an animal, feasted in the fairy hills, performed magic in the company of fairy monarchs and made love with the Devil.

This combination of characters and mythical creatures lends itself naturally to the use of puppetry. There is an unlimited amount of potential with puppet sizes, materials and puppet architecture. Furthermore, by singling out the main character as a non puppet make her seem unusual and subhuman, amplifying the point of the trial.

Gareth K Vile: Is there any particular approach to the making of the show?

Emma Anderson: Strangely it was the soundtrack that came first. The succulent, raspy tones of the musician Patti Plinko lent itself perfectly, in my opinion, to the production. From there we worked on the script and the main puppet. With being a participant in Testroom we met with the other Restroom participants and mentor Gavin Glover roughly every second week to share ideas and give feedback.

Gareth K Vile:

Emma Anderson: 

Gareth K Vile: What do you hope that the audience will experience?

Emma Anderson: I hope they will relate to the character. That they put themselves in her shoes and think about what they would have done. Hopefully from there have a great discussion in the bar after!