Review: Beowulf and Grendel, Fringe 2024

Award-nominated actor Evan Quinlan not only learned nearly 700 lines but adapted the Francis Barton Gummere translation of the epic Beowulf.

The poem is one of the oldest surviving poems in a language we consider to be English or an ancestor of it. I’m not an expert on this topic, but I understand this piece helped establish or transition the language; we can now use it to see that evolution. Thus, the story shows the rhythm and alliteration used in poetry at the time.

The Francis Barton Gummere version is tempting to audiences because it ‘translates’ the language into a more modern English and works to keep the alliteration of the old English.

Or, to put it another way, Beowulf sounds important but is also a chore to read, so wouldn’t it be handy if a trained actor and orator studied it, took it to Edinburgh, and performed (some of) it at the Free Fringe?

The poem itself is about a hero named Beowulf, who presents himself to the King of the Danes as a would-be monster slayer and ends up taking on the beast Grendel.

Tone

I had to listen, to really listen to Evan to follow and translate the epic into Girdy language. That wasn’t a bad thing, but it’s rare to have to do that these days.

It’s an adult poem that deals with contemporary (or perhaps just evergreen) issues. There’s violence and the struggle for a sense of identity and acceptance.

There’s a shedload of toxic masculinity in here, but it also has heroism. 

Evan Quinlan splices in humour, as I’m sure bards once did, but do not mistake this for a play. Beowulf and Grendel is a 50-minute poem, and it’s delivered at a pace because it’s a very large poem. Seven hundred or so lines mean more than 10 lines a minute, and we don’t get to the bit where the monster’s mum turns up.

What to expect

CC Blooms is lovely (my first trip to the bar), and as the poem is early enough in the day, you can bring your teens with you. Whether or not they’ll sit through nearly an hour of recital in a language that’s a lot like but not quite English is a different thing.

Beowulf and Grendel is performed downstairs in a comfortable and airy room. I don’t think it’s wheelchair accessible but otherwise a good setting for the reading.

You can tell Evan Quinlan is an actor. He has stage charisma, projects his voice well, and moves around to illustrate the poem’s adventure with his body. There’s a handy stick—a mighty stick.

Evan is dressed as a Viking or Saxon warrior, and the poem’s origin (I think) traces back to a time when culture was strongly influenced by German warrior traditions. The costume helps entertain and set the scene.

Beowulf is also considered an important poem because it bridges that time when Christianity was gobbling up the native religions. This may unsettle you if you have strong views on that. For example, Grendel’s existence on Earth has a biblical rationale behind it in the play. 

I think most people will have to concentrate to enjoy the poem, but CC Blooms is a good venue for that, and Evan is just the man to offer the chance.

Overall

It was a free performance, and at the end, I opened my coin purse and poured everything I had into Evan’s collection bag. I estimate that at over 5 but under 10 quid. That felt about right.

I’m glad I spent this 50 minutes with Evan. I wanted to enjoy a proper reading of Beowulf but didn’t have the commitment to try and read it myself.

Would I recommend Beowulf and Grendel to friends? Yes, but only those friends of mine I know are into literature and history.  I can’t imagine anyone from my day job, for example, picking ancient English poetry over the same amount of time with a stand-up comedian for a Fringe weekend time investment.

I’m left with the idea that some TV exec should adapt Beowulf into a modern story and channel the superhero show Misfits for inspiration. If that happens, then Evan needs a role in it.