Tracks of the Winter Bear @ Traverse, Edinburgh

The Traverse’s double bill Tracks of the Winter Bear is far removed from the typical pantomime hi-jinx of the Christmas season. Instead, it is a thoughtful, charming offering; quiet and understated without losing the humour or the upswings that Christmas needs. 

Stephen Greenhorn’s first act is by far the sadder of the two, telling a tale of lost love, grief and acceptance. Deborah Arnott’s Shula is perfectly pitched as the play slowly unwinds details that look deep into society, the assumptions we might make about others and the ways in which we don’t look after our own. Shula chooses to hibernate for winter after being sanctioned and losing thirteen weeks of her benefits. This situation is all too realistic and the play quietly points to this; not overly emphasised, but important. 

Rona Munro’s second act is much more conceptual, with Caroline Deyga becoming the titular Winter Bear. Mother Christmas, played by Kathryn Howden, is our heroine here, though she is reluctant about the role she’s taken on, both as Mother Christmas and the soon-to-be adopted friend of an escaped polar bear. Her opening monologue is hilarious, with great use of dramatic irony and comic timing throughout. This play too is introspective, though on a more upbeat note, and as with Greenhorn’s first act, it ends on a socially conscious upswing. 

The plays may be stylistically different, but they complement each other well and with charming asides that suggest they exist in the same universe, it appears they’ll be living together happily through the rest of the festive season. As long as they watch out for bears.

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Tracks of the Winter Bear, Traverse Theatre, run ended