I was initially drawn to Mossycoat – Into the Wildwood, staged as part of the Scottish International Storytelling Festival, by its ambitious multidisciplinary vision. Bringing together storyteller Jess Smith, harpist Natasha Burns, dancer Melissa Heywood, and visual artist Aly Robinson, the production set out to weave together live music, dance, traditional storytelling, and modern digital art.
So writes Alena Shmakova for theQR.co.uk…
The performance opens with a captivating atmosphere. Mystical harp melodies from Burns and deep greenish lighting immediately draw the audience into the forest alongside the heroine. Fairy lights woven around the spinning wheel evoke the magical glow of chanterelles, while Heywood’s fluid movement shifts the mood from enchanting to subtly perilous, adding a palpable layer of tension and intrigue.
The Friction Between Spontaneity and Structure
As the piece unfolds, however, harmonising these distinct artistic disciplines presents noticeable challenges. Storytelling operates under a different theatrical logic than scripted drama, relying on real-time connection, spontaneity, and improvisation. Aligning music, dance, and spoken narrative across an ensemble, especially during an initial outing, is a complex feat. At times, it was difficult to tell whether the music and choreography were strictly rehearsed or reacting live to the spoken narrative. In one key scene, where Smith describes the protagonist’s body overcome by an urge to dance, the harp music remained overly reflective, struggling to generate the driving energy required against the delicate nature of the instrument.
“I was initially drawn to Mossycoat – Into the Wildwood, staged as part of the Scottish International Storytelling Festival, by its ambitious multidisciplinary vision.“
Narrative order also proved fluid, with key segments shifting out of sequence, resulting in a planned “dance of fire” taking place long after its accompanying story context had been summarised. Toward the end, as the narrative threads thinned, Smith shifted between immersed performer and informal presenter to navigate the remaining timing and structure.
There was also a shift in how the production approached its technological side. While Aly Robinson’s visual artwork was advertised in the event billing, no projections appeared on stage. The team later clarified that filmed visuals, captured on location in the Argyll rainforest, were intentionally set aside to keep the spotlight on the live performers rather than competing with screens. Instead, these visuals will be integrated into a future digital release aimed at making the performance accessible to audiences unable to attend in person—a thoughtful approach to digital outreach, even if their absence on stage was unexpected.
While Mossycoat currently feels like a work in progress, its foundational elements are undeniably strong. Bolstered by Burns’s brilliant, magical harp performance and Heywood’s thought-provoking choreography, it is a project with rich potential, simply seeking the right balance between spontaneous oral tradition and structured ensemble performance.
Featured Image: Mossycoat – Image by Aly Robinson Photography
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