Most people have probably never heard of Isobel Gunn, the first Scottish woman to set foot in Canada. Singer, author and historian Melanie Gall intends to change that through her one-woman show. She blends historical research with lyrical folk music to create a musical biography of a woman born 246 years ago.
Frustrated with the realities of eighteenth-century life as a woman in the Orkney Islands, Isobel Gunn followed her brother to Rupert’s Land. Disguised as ‘John Fubbister’, Gunn worked for the fur trading Hudson’s Bay Company, transporting supplies across hundreds of miles. In 1807, disaster struck with the birth of her son James. This ended her life of adventure, forcing her to return to Scotland.
Throughout the fifty-minute performance, Gall alternated between portraying herself and the historical figure. Where other characters were required to advance the plot, voiceovers from Cameron Stout and James Rich were used. Although this may have been due to budget limitations, it was theatrically effective, creating a world where the external forces shaping Gunn’s life were invisible but omnipotent. Significant research clearly underpinned the show, with historical diary entries and letters read aloud. New information which had come to light during the production’s development was celebrated.
An experienced singer, Gall has a soulful soprano voice that floated over recorded instrumentals played by a quintet of musicians: Bennett Paster, Jim Whitney, Ross Martin, Dennis Lichtman and Will Holshouser. The combination of piano, bass, guitar, accordion, mandolin and fiddle gave the performance life, providing a background for the emotion of the lyrics and performance. The melodies were understated, but felt wholly appropriate.
Gall is also Canada’s leading expert on the subject of knitting songs, with a second show at the Fringe on this craft’s history. Her passion for this field shines through in both the narrative and costuming of ‘The Ballad of Isobel Gunn’. The repetitive nature of knitting is used as a metaphor for the life Gunn is desperately seeking to flee, while a handmade grey shawl and cap added visual texture and character.
Throughout the performance, Gall changed costume, switching between a white skirt and brown waistcoat to indicate whether she was performing as herself, Isobel Gunn or John Fubbister. Unfortunately, these transitions felt underdeveloped. Rather than being integrated into the narrative onstage, Gall frequently disappeared into the wings between plot points to search for props and costume pieces. Additionally, given the show’s subject matter and the clear understanding of textile in the development of the show, it was a surprise that real or artificial fur was not used at all in the production, although it features in the promotional poster.
Isobel Gunn’s life story requires the discussion of difficult topics, all of which were handled sensitively. This includes the recognition that the land used by the Hudson Bay Company was originally home to people from several indigenous First Nations, and the heart-wrenching possibility that Gunn’s child was the result of non-consensual sexual activity. The metaphor of the Scottish selkie was cleverly used to parallel Gunn’s transformation into John Fubbister and the narrative became increasingly gripping and impactful over the course of the show.
Issues represented onstage touch on problems which continue to plague twenty-first-century society. Although no parallel was explicitly drawn between Gunn’s life and modern conversations around safety, freedom, gender expression and identity, it was clear to see the relevance of this story to a modern audience. In bringing this little-known Scottish woman’s story to the stage, Gall has created an evocative piece of theatre, giving its audience much to reflect on.
The Ballad of Isobel Gunn ran from 7th-29th August at the Annex at theSpace in Symposium Hall.
Image courtesy of Melanie Gall.
Theatre Scotland 
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