A name that should ring through Scottish history to the present, a West African slave who freed himself in the 1770s after an initial defeat. Photograph: Sally Jubb View image in fullscreen A game of chess that cannot be won … Omar Austin as Joseph Knight in Enough of Him. We’ll always treat your personal details with care and never sell them to third parties for marketing purposes.

The data collected including the number visitors, the source where they have come from, and the pages visted in an anonymous form.A Northumbria University graduate, and founder of Newcastle’s Alphabetti Theatre, has been voted as one of the 100 most influential people within the UK theatre and performing arts industry over the last year. And as the looming figure-piece of wealth, an enormous period painting of a Scottish landscape – begins to gnarl, warp, to bleed like the bodies its fortune was founded upon – the beauty of the portrait washes with colour to reinforce the room, alternating from distorted abstractions of violence to a cooler, moderate and even drowned sense of foreboding and loss. In this Black History Month, Pitlochry Theatre, the National Theatre of Scotland and Sumbwanyambe seek to remind audiences that as we arrive back at the present, blinking from the houselights, in this contemporary world of opportunity and affluence, we fail to recognise the ramifications of the street names we traverse, and fail once more to grasp that freedom is obtained by more than the erasure of bondage. It is discussed in the Oxford Companion to Black British History (2007), while Joseph Knight has gained an entry in the Oxford Dictionary of National Biography.

And though tremendous amounts are conveyed with Pidgeon’s fragile, yet powerfully repulsive presence, John Pfumojena’s design makes full use of its minimalism; there is no escape for those finding despair.Composer John Pfumojena’s music draws upon the sounds of African percussion, most notably in a memorable arrangement of the famous Scottish folk song, The Parting Glass. This extraordinary passage – which combines the unflinching clarity of the historian CLR James with the bold sexual expression of filmmaker David Lynch – is typical of the play’s captivating potency. Details Based on a true story, Enough of Him explores the life of Joseph Knight, an African man brought to Scotland as a slave, by plantation owner John Wedderburn, to serve in his Perthshire mansion. And the sexual dysfunction, well, maybe that has something to do with Wedderburn’s 10 years in Jamaica where his appetite for human “bed warmers” was characterised by violence and humiliation.