Latest news with #Macbeth
CBC
an hour ago
- Entertainment
- CBC
Cree reimagining of Macbeth makes makes Treaty 1 territory debut in Brandon
A reimagining of Macbeth — set in a time before colonization and rooted in the Cree worldview, language and tradition — is set to be performed on Treaty 1 territory for the first time this weekend. Pawâkan, a production from Akpik Theatre — a professional theatre company founded in the Northwest Territories in 2008 that now tours across Canada — transforms Shakespeare's classic tale of ambition and betrayal into a celebration of Indigenous culture. Audiences in Manitoba will now get to see it for the first time, with performances on Sunday and Monday at the Western Manitoba Centennial Auditorium in Brandon. Playwright Reneltta Arluk says it centres Indigenous voices, showing the strength and complexity of Cree life before colonization. Part of that, she says, is using laughter as healing. "Indigenous people ... our laughter is such a huge part of who we are as people. There's a lot of humour in this play," Arluk said. While the story draws loosely from Macbeth, it has been completely rewritten to elevate Cree perspectives and language. The main character, Macikosisân, is consumed by a cannibal spirit known as "the one who walks alone" — whose name is only spoken when snow is on the ground — symbolizing greed and violence, Arluk said. The three witches of Shakespeare's play are reimagined as the wiyôyôwak, spiritual beings who challenge the characters to reflect on identity and spirituality. Pawâkan was born out of time spent with students and elders in the Cree community of Frog Lake First Nation, on Treaty 6 territory in northern Alberta, and during her residency across various reserves, Arluk said. Macbeth became a tool to talk about greed and the cannibal spirit, she said. Elders told stories of the spirit, while youth shared stories of the land. That blend inspired her to reshape the tragedy into Pawâkan, a story that explores how imbalance, isolation, and spiritual hunger affect communities. "This play is about balance. It's about when you go too far one way, and you isolate yourself and others," Arluk said. "We need each other as people. We need each other more than ever. And so that's what this play really does.... It really asks each other to be there for each other." Elevating Indigenous voices Pawâkan has toured Treaty 6 territory — including Edmonton, North Battleford, Sask., and Frog Lake — as well as parts of the Atlantic and Northwest Territories. There are actually two versions of the play — the touring 90-minute version, titled The Community Telling of Pawâkan, and a full-length version that hasn't yet been produced. Its Brandon performance is unique in another way — it's happening in summer near the summer solstice. Traditionally, director Barry Bilinsky says, stories like Pawâkan are told in the dead of winter. That means the shorter version also has two versions — one for winter, and one for summer. In the summer version, the name of the cannibal spirit is omitted. "We need the winter to balance out the summer, we need the light to balance the dark," he said. "It reminds us of what our ancestors went through, and what people right now are going through, and what it means to be truly starving." The play is also a chance to celebrate Cree culture, especially in communities that don't often see large theatre productions, Arluk said. When she graduated from theatre school, there were few opportunities for Indigenous actors, even with formal training, she said. "It was still really challenging to get into those theatres, because I was Indigenous, and those stories were not our stories," she said. She wants to change that. Making space for Indigenous artists is critical, she says, especially because Shakespeare is deeply embedded in Canadian education — even in isolated communities where Indigenous stories often are not. She's seen first-hand how students light up when they get to share Cree cosmology. "It's powerful … these stories of the land," she said. "I do truly believe that our stories are the most intrinsic and compelling stories." Bilinsky agrees, adding the production is also a statement about Indigenous presence on stage. "It's so vital for young people to see themselves up on stage and to understand that these languages aren't dead, that these stories aren't gone and that … we can be on those stages," he said. Every performance feels different, Bilinsky says. Some audiences are full of Cree speakers, laughing along with the jokes, while others are quiet and reverent. During some performances, he's heard pop cans cracked open mid-show or audiences rustling snacks — moments that remind him how diverse these communities are, Bilinsky said. One recent show included evacuees displaced by wildfires. He hopes Pawâkan offered a reprieve for them, and will offer others a reminder of Indigenous perseverance.
Sydney Morning Herald
17 hours ago
- Entertainment
- Sydney Morning Herald
The most demanding role Hazem Shammas has ever played
When Shakespeare wrote his tragedy Coriolanus he was coming off the back of an outrageous run of successes. In just a few years he'd penned Othello, King Lear, Macbeth and Antony and Cleopatra. This was a writer at the peak of his powers, and with Coriolanus he pushed himself into even more daring territory. And yet the coming Bell Shakespeare production of Coriolanus is the first that Australia's pre-eminent adapters of the Bard have mounted in almost 30 years, and only the second time Bell has tackled the play at all. The last time around, the title role was played by company founder John Bell. This time, the fearsome Coriolanus will be incarnated by Hazem Shammas, who both wowed audiences and divided critics as Macbeth in Bell's 2023 production. 'I am working the hardest I ever have. A marathon is an understatement. I thought Macbeth was a marathon but this way surpasses it,' he says. Why is this play performed more rarely than Shakespeare's more obvious crowd-pleasers? Shammas says it's a more complex and ambitious work. 'It's a big block of granite and it is like Michelangelo carving his forms out of this rock. That's hard work. Maybe we're not liking hard work any more.' The rewards are many, though: 'the depth and complexity of his poetry, the writing and the insights, and the way he expresses psychological and dramatic states'. Bell's Coriolanus gives audiences the rare chance to see a Shakespeare play they might know nothing about. The story is surprisingly simple, Shammas says. After defeating his enemies in the Italian town of Corioli, the Roman general Caius Marcius is given the nickname Coriolanus. As he ascends the ranks of Rome's political power structures, however, he grows angry at the democracy that gives non-military citizens any form of power and eventually defects to the side of his former foes, to team up and try to take on Rome itself. 'It's either Rome's destruction or his destruction. He's a highly decorated war hero with not much political nous,' says Hammas. The machinations of war hawks and power-hungry despots certainly aren't alien to our lives today but Shammas says this is because they've always been with us. 'It's a study on power and its tentacles. However they're playing out now, it's not new. It's cyclical, and it keeps happening and happening.' For that reason he thinks of Coriolanus as a kind of morality play. It's provocative but he hopes audiences will engage with what they see. 'If they're willing to bring themselves to it as political humans with ethics and morals and ask themselves questions honestly about what comes up in the play, they're going to have a great night out. They're going to take something away.' Not that a night at the theatre is any kind of cure-all. 'It makes me sad because we keep telling these stories, and we keep having these rituals together to share these stories, and we don't seem to learn, or we don't even see it around us.' Coriolanus himself is a monster, Shammas says: 'There should be absolutely no sympathy for him.' At the same time, you don't have to look far to see monsters these days. 'I guess we all have capacity to be monsters. That's perhaps what it's about. Temptations of power … maybe being a monster is not that hard. This guy, it doesn't seem like there's much effort in his blood-lust because society allows it. Or society worships it, actually.' Shammas is keen to emphasise that the production doesn't treat a play by one of the great masters of theatre as a vehicle for any particular politics of today. It doesn't need to. 'What's fascinating is that Shakespeare can sit and have these meditations and write this for us to ponder 420 years later. It's all in the text. It's all in the script.' It's one of those roles that requires its performer to have the sort of life experience a young actor probably can't claim. Like King Lear, you don't give Coriolanus to a 20-year-old. Now 50, Hammas is confident he has the goods: 'the wisdom … well, at least, experience'. He's certainly enjoying a long streak of success. For his turn in 2018's TV thriller Safe Harbour he won a Silver Logie for most outstanding supporting actor. He was nominated for an Audience Choice Award for The Twelve at the 2022 AACTAs and has had recurring roles in Bump, Ladies in Black and other film and TV productions. I am working the hardest I ever have. A marathon is an understatement. Live theatre is a different beast, of course. You'd think the challenge of such a demanding role, night after night, would be heightened even further given Coriolanus' wife Virgilia will be played by his real-life partner Suzannah McDonald. The last time they played opposite each other was in Bell's 2013 production of The Comedy of Errors. The tone of that play couldn't be further from this tragedy. The creative bug runs in Shammas' extended family, too. His cousin Hanna is one of Haifa's leading satirical comics; his uncle and godfather Anton is a novelist and professor in Michigan; another cousin has made his name as a cinematographer. 'You know, Palestinians – we're storytellers,' he says. Not that any of that was enough to have the young Hazem's parents unreservedly encourage his acting career. 'I had a first-gen ethnic father who said I had to get a proper job before I became an actor. So I did a degree and worked in construction and probably should have flown to Dubai and built towers when all my other graduate friends were travelling over there.' He maintained his interest in the arts while studying for that more practical degree, and the skills he learnt have proven surprisingly helpful since. 'Dabbling in the arts and creative thinking was a nice balance to dabbling in engineering and constructive thinking. That's such an amazing skillset that I have that I can apply to all processes. To acquit projects is a skill that everyone should be able to learn.' He did finally study acting – a one-year course at Sydney's Actors Centre led to a three-year degree at the prestigious Western Australian Academy of Performing Arts (WAAPA). He'd satisfied his parents' pragmatic expectations and was free to pursue his dream. 'The most beautiful success story about my parents is that they came out here with nothing and, yes, they're poor, but they did give us education and freedom. That's the most perfect legacy.' Loading Hammas has three young sons of his own now and, with two actors as parents, they're growing up around film sets and theatres. The nature of the business means periods working long days and nights alternate with more hands-on stretches with the kids. 'If I'm not working I'm looking after three boys. They're my buddies and we meet the world together every day. We bushwalk, we ride bikes, we make stuff. We paint, we draw, we read, write.' His eldest has even started sharing the stage with his dad during poetry readings recently. Would he give his own children a free pass if they wanted to follow in his creative footsteps? He laughs. 'Not unless they do something proper first.'
The Age
17 hours ago
- Entertainment
- The Age
The most demanding role Hazem Shammas has ever played
When Shakespeare wrote his tragedy Coriolanus he was coming off the back of an outrageous run of successes. In just a few years he'd penned Othello, King Lear, Macbeth and Antony and Cleopatra. This was a writer at the peak of his powers, and with Coriolanus he pushed himself into even more daring territory. And yet the coming Bell Shakespeare production of Coriolanus is the first that Australia's pre-eminent adapters of the Bard have mounted in almost 30 years, and only the second time Bell has tackled the play at all. The last time around, the title role was played by company founder John Bell. This time, the fearsome Coriolanus will be incarnated by Hazem Shammas, who both wowed audiences and divided critics as Macbeth in Bell's 2023 production. 'I am working the hardest I ever have. A marathon is an understatement. I thought Macbeth was a marathon but this way surpasses it,' he says. Why is this play performed more rarely than Shakespeare's more obvious crowd-pleasers? Shammas says it's a more complex and ambitious work. 'It's a big block of granite and it is like Michelangelo carving his forms out of this rock. That's hard work. Maybe we're not liking hard work any more.' The rewards are many, though: 'the depth and complexity of his poetry, the writing and the insights, and the way he expresses psychological and dramatic states'. Bell's Coriolanus gives audiences the rare chance to see a Shakespeare play they might know nothing about. The story is surprisingly simple, Shammas says. After defeating his enemies in the Italian town of Corioli, the Roman general Caius Marcius is given the nickname Coriolanus. As he ascends the ranks of Rome's political power structures, however, he grows angry at the democracy that gives non-military citizens any form of power and eventually defects to the side of his former foes, to team up and try to take on Rome itself. 'It's either Rome's destruction or his destruction. He's a highly decorated war hero with not much political nous,' says Hammas. The machinations of war hawks and power-hungry despots certainly aren't alien to our lives today but Shammas says this is because they've always been with us. 'It's a study on power and its tentacles. However they're playing out now, it's not new. It's cyclical, and it keeps happening and happening.' For that reason he thinks of Coriolanus as a kind of morality play. It's provocative but he hopes audiences will engage with what they see. 'If they're willing to bring themselves to it as political humans with ethics and morals and ask themselves questions honestly about what comes up in the play, they're going to have a great night out. They're going to take something away.' Not that a night at the theatre is any kind of cure-all. 'It makes me sad because we keep telling these stories, and we keep having these rituals together to share these stories, and we don't seem to learn, or we don't even see it around us.' Coriolanus himself is a monster, Shammas says: 'There should be absolutely no sympathy for him.' At the same time, you don't have to look far to see monsters these days. 'I guess we all have capacity to be monsters. That's perhaps what it's about. Temptations of power … maybe being a monster is not that hard. This guy, it doesn't seem like there's much effort in his blood-lust because society allows it. Or society worships it, actually.' Shammas is keen to emphasise that the production doesn't treat a play by one of the great masters of theatre as a vehicle for any particular politics of today. It doesn't need to. 'What's fascinating is that Shakespeare can sit and have these meditations and write this for us to ponder 420 years later. It's all in the text. It's all in the script.' It's one of those roles that requires its performer to have the sort of life experience a young actor probably can't claim. Like King Lear, you don't give Coriolanus to a 20-year-old. Now 50, Hammas is confident he has the goods: 'the wisdom … well, at least, experience'. He's certainly enjoying a long streak of success. For his turn in 2018's TV thriller Safe Harbour he won a Silver Logie for most outstanding supporting actor. He was nominated for an Audience Choice Award for The Twelve at the 2022 AACTAs and has had recurring roles in Bump, Ladies in Black and other film and TV productions. I am working the hardest I ever have. A marathon is an understatement. Live theatre is a different beast, of course. You'd think the challenge of such a demanding role, night after night, would be heightened even further given Coriolanus' wife Virgilia will be played by his real-life partner Suzannah McDonald. The last time they played opposite each other was in Bell's 2013 production of The Comedy of Errors. The tone of that play couldn't be further from this tragedy. The creative bug runs in Shammas' extended family, too. His cousin Hanna is one of Haifa's leading satirical comics; his uncle and godfather Anton is a novelist and professor in Michigan; another cousin has made his name as a cinematographer. 'You know, Palestinians – we're storytellers,' he says. Not that any of that was enough to have the young Hazem's parents unreservedly encourage his acting career. 'I had a first-gen ethnic father who said I had to get a proper job before I became an actor. So I did a degree and worked in construction and probably should have flown to Dubai and built towers when all my other graduate friends were travelling over there.' He maintained his interest in the arts while studying for that more practical degree, and the skills he learnt have proven surprisingly helpful since. 'Dabbling in the arts and creative thinking was a nice balance to dabbling in engineering and constructive thinking. That's such an amazing skillset that I have that I can apply to all processes. To acquit projects is a skill that everyone should be able to learn.' He did finally study acting – a one-year course at Sydney's Actors Centre led to a three-year degree at the prestigious Western Australian Academy of Performing Arts (WAAPA). He'd satisfied his parents' pragmatic expectations and was free to pursue his dream. 'The most beautiful success story about my parents is that they came out here with nothing and, yes, they're poor, but they did give us education and freedom. That's the most perfect legacy.' Loading Hammas has three young sons of his own now and, with two actors as parents, they're growing up around film sets and theatres. The nature of the business means periods working long days and nights alternate with more hands-on stretches with the kids. 'If I'm not working I'm looking after three boys. They're my buddies and we meet the world together every day. We bushwalk, we ride bikes, we make stuff. We paint, we draw, we read, write.' His eldest has even started sharing the stage with his dad during poetry readings recently. Would he give his own children a free pass if they wanted to follow in his creative footsteps? He laughs. 'Not unless they do something proper first.'
Metro
2 days ago
- Entertainment
- Metro
Rachel Zegler's Evita faces backlash over trigger warnings – But critics miss the point
Rachel Zegler's West End revival of Evita has drawn criticism for including a trigger warning about 'loud music and sudden noises' — but much of the backlash reflects a misunderstanding of what trigger warnings are actually for. The production at the London Palladium, which stars Zegler, 24, in her UK stage debut, has already faced criticism for the decision to have Zegler perform a key number on a balcony while the audience watches a live feed video. Now, it's facing even more backlash for warning audiences about the use of loud music, sudden noises, strobe lighting, flashing lights, and haze in the production. Zegler plays the titular role of Eva Perón in Sir Tim Rice and Andrew Lloyd-Webber's beloved musical, which follows the story of Perón as she rises to political power in Latin America. Toby Young, director of the Free Speech Union, said: 'Warning fans of musical theatre that they may hear loud music and sudden noises is beyond parody. Just how stupid do theatre owners think their customers are?' He continued to The Telegraph: 'I cannot imagine someone who's paid £350 for a pair of tickets to Evita complaining that it contains loud music. They'd be more likely to complain if it didn't.' Trigger warnings, which have become increasingly prevalent in recent years, aim to alert audiences to potentially upsetting or harmful material they may wish to avoid or prepare themselves to engage with. Young is not the only one to have spoken out against trigger warnings. Actor Ralph Fiennes told BBC One's Sunday with Laura Kuenssberg: 'I think we didn't use to have trigger warnings. I mean, there are very disturbing scenes in Macbeth, terrible murders and things. 'But I think the impact of theater should be that you're shocked and you should be disturbed. I don't think you should be prepared for these things and when I was young, never had trigger warnings for shows.' Sir Ian McKellan agrees with Fiennes' perspective, telling Sky News when he was in Frank and Percy on the West end: 'Outside theaters and in the lobbies, including this one, the audience is warned 'there is a loud noise and at one point, there are flashing lights,' 'there is reference to smoking,' 'there is reference to bereavement.' I think it's ludicrous. I quite like to be surprised by loud noises and outrageous behavior on stage.' But these perspectives reflect a common misconception about trigger warnings: They are not about coddling audiences or spoiling artistic intent – they are about providing individuals, especially those with past trauma, the informed choice to engage with difficult content on their own terms. To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video As Reddit user LadyDisdain555 writes in a thread about the issue: 'Trigger warnings aren't to prevent offence. They're safety precautions in case someone's trauma responses are activated by the content. They're literally there to allow people to protect themselves, while also trying to keep free expression alive.' Many don't understand that trigger warnings are not just about mental health. If, for example, you suffer from epilepsy and flashing lights can bring on your seizures, the use of trigger warnings in stage productions allows you to check beforehand if you might be at risk. Additionally, to equate emotional surprise with artistic value assumes a universal audience experience, ignoring the fact that for some, unanticipated depictions of violence, bereavement, or abuse can cause real psychological distress, not just momentary discomfort. Far from undermining art, trigger warnings create a more inclusive space where everyone can participate safely, and real people are benefiting. Reddit user the_pleiades wrote in a thread about the Game of Thrones spin off House of the Dragon: 'Honestly, the trigger warning in season 1 of House of Dragon about miscarriage/pregnancy loss was very helpful for me to mentally prepare and make sure I was ready to watch something traumatic that I personally experienced and hadn't fully processed.' There are also numerous examples of the negative outcomes that can result from a lack of trigger warnings. Saving Private Ryan, the classic 1998 film about World War II, is a famous example. The Omaha Beach landing scene in the film was so accurate that the U.S. Department of Veterans Affairs had to set up a toll-free hotline within the first three days of the film's release to help World War II veterans who were triggered by it. More Trending In fact, a spokesperson at the time issued a statement to The Deseret Sun, that read: 'Counselors at VA medical facilities have been asked to prepare to assist veterans who experience emotional trauma as a result of the movie.' The Department of Veterans Affairs later reported that the hotline received hundreds of calls from deeply distressed veterans. If you don't like trigger warnings because you think they're condescending or 'ruin the surprise,' don't look at them. Most theatres only include them in the programme for the show, with a few stating them on a subtle sign in the lobby. Even if trigger warnings are unavoidable, is 'spoiling' a surprise really too high a price to pay for making theatre more inclusive and accessible? Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: New car-free streets in London 'just the beginning' of summer business boost MORE: Controversial Snow White remake finally hits Disney+ and fans are split MORE: Rachel Zegler's West End debut sparks controversy over shock move
Scotsman
4 days ago
- Scotsman
I had dinner in the ‘murderous' Scottish Highland hotel dining room that inspired Macbeth
This 'gateway to the Highlands' hotel recently reopened after a £1M refurbishment under new owners. Rosalind Erskine visited for a weekend away. Sign up to our daily newsletter – Regular news stories and round-ups from around Scotland direct to your inbox Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The weather this summer may have been questionable at best, but there's nothing like the never-ending light in Scotland in the summer, especially when you get to enjoy it while soaking up some wonderful views. The west coast is infamous for its stunning scenery, and excellent seafood, and you can enjoy both at the newly reopened, and renovated, Knipoch Hotel just outside Oban. Budget or boutique? This 26-bedroom hotel is the fourth property owned by the Sonas Collection, which reopened it in March after a £1M refurbishment. It's also the firm's largest hotel and the first outside of the Isle of Skye . From £179 per night for a double room - all of which are dog-friendly - it's a good price for such a stunning location, and close to Oban and beyond. Advertisement Hide Ad Advertisement Hide Ad Room service Our first floor room overlooked Loch Feochan which was as still as glass all evening. The hotel's position means you can watch the sun slowly sink behind the hills at about 9.30pm - but remember the midge repellent if you're heading outside for photos! The room, like the public spaces in the hotel, has a palette of grey walls, with tan leather and cream accents as well as tweed and crushed, deep amber, velvet. The colours are complementary to the views and don't scream twee. Our ensuite has a huge walk in shower, funky patterned floor tiles and a blue and white colour scheme. Wining and dining Knipoch House Hotel 1635 dining room | Rosalind Erskine There are three dining room options for dinner at Knipoch, the bar dining area where there's a range of seasonal dishes such as venison burger, ham hock and chicken terrine, monkfish and lentil dhal and cranachan cheesecake. For something a bit special, guests and visitors can book the seven course tasting menu in the atmospheric 1635 restaurant. The intimate dining room is the oldest part of the building, dating back to the 16th century. Named after the year found on a carved plaque on the wall of the room, this room is also said to be where Thane of Cawdor was assassinated by Clan Campbell Ardkinglas, after trying to thwart his popularity via witchcraft. The tale of this murder made its way to London and it is said inspired William Shakespeare to write Macbeth. Both restaurants are headed up by chef Andrew Engledow, who has joined the hotel from his previous position at the Sonas group's Duisdale House Hotel. Andrew has a focus on locally sourced ingredients from Argyll and seasonal flavours that reflect the natural beauty of the surrounding area whilst introducing a unique twist to his dishes. The tasting menu is seasonal and changes regularly but when we were there we dined on canapes of: Knipoch spring vegetable tartlet with truffle egg yolk; Langoustine buckwheat tart with tomato gel and lemon; a very moreish cheese, beer and onion crust tart and Sourdough, laminated brioche with parmesan and wild garlic and cultured butter. These were followed by Jersey Royals with chicken fat emulsion and wild garlic; Crab with fermented white asparagus, pomme soufflé and caviar; hand dived scallop served with thin slices of kohlrabi and a hint of fragrant bergamot; lamb with asparagus, black garlic and morel (or haddock as an alternative). Then a pre-dessert of strawberries served with sheep's yogurt, strawberry sorbet and long pepper and a wonderfully delicate heather honey panna cotta served with elderflower and yuzu. Advertisement Hide Ad Advertisement Hide Ad The attention to detail in each dish, and letting the local produce shine, made it one of the best meals I've had so far this year and the staff, and setting, just added to the enjoyment. After dinner, guests can enjoy a nightcap in the bar or by the fire in the reception area. Worth getting out of bed for Oban is only a 15 minute drive away where you'll find excellent coffee at Hinba coffee roasters as well as a range of shops. Seafood restaurant, located right on the water, Ee-usk remains an ideal spot for lunch or for something more informal try the Oban Seafood hut. Whisky fans will enjoy a visit to the Oban Distillery which pre-dates the town, and was established in 1794 by brothers John and Hugh Stevenson. Daily tours take place in the distillery, which give visitors the chance to experience and find out more about the traditions and craft involved in whisky production. If you'd like to walk off all that food and drink then a trip to Dunollie Museum and Grounds is a must, especially for history buffs. The museum and grounds, which are home to the ruin of Dunollie Castle, only opened to public tours more than six years ago. For more than 1000 years, the Clan Chiefs and Lords of Lorn ruled large areas of Argyll & The Isles from Dunollie. Today it remains the ancestral home of the Clan MacDougall. Knipoch House Hotel | Knipoch House Hotel Little extras Templespa toiletries, a well stocked tea and coffee station and comfortable dog bed and bowl awaited us in our room. Guests can also book the hotel's hot tub for £10 for an hour, and really relax. Advertisement Hide Ad Advertisement Hide Ad Guestbook comments The property dating back to the 1600s was acquired by family-run Sonas Collection in 2023 has undergone a £1 million refurbishment, offering plush modern amenities in a beautiful and timeless setting, panoramic views of Loch Feochan, and a new dining experience featuring seasonal and local ingredients to the Scottish west coast. Knipoch House Hotel By Oban, Knipoch, Oban PA34 4QT
