Speed of Light

“They look a bit like dancing Christmas trees, don’t they?” remarks Conrad, our burly Speed of Light walking guide, as ‘Walking Group 2’ turn their bemused gaze to a circle of illuminated performers cutting multicoloured shapes into the face of Arthur’s Seat. Conrad’s interpretation of the EIF’s flagship production may not be the most sophisticated, but it neatly captures the extrordinary spectacle of Speed of Light and at the same time its curiously underwhelming aesthetic impact.  

The kinaesthetic principle that inspired NVA’s production is certainly fascinating. Artistic Director Angus Farquhar wanted to create a piece of large-scale ‘public art’ which celebrated both his love for running and also used the landscape of Arthur’s Seat as its canvas. The result is a mass performance of running artistry, with teams of performers in specially-made light suits jogging (and occasionally staggering) through choreographed routines cut into the hill face. The audience is also an integral part of the performance. Split into walking groups and armed with movement-activated light sticks, they slowly make their way to the summit, pausing every so often to catch a breather and watch the runners below.

The production is a truly vast operation, encompassing an impressive team of 4,500 volunteer runners and attracting audiences of 800 every night. Yet the scale of the project also gives it a clinical feel, particularly at the tented basecamp where the setup is more like a theme park than a festival performance, and where the staff seem more interested in health and safety regulations than explaining the artistic principles behind the show. The performance itself is similarly impressive, but ultimately falls a little flat. While the combination of light and movement is certainly sensually pleasing, it’s dwarfed by the majestic splendor of Edinburgh itself, which, sparkling in the distance, both steals the show and invariably the audience's gaze.