Douglas Maxwell‘s most recent play was the Fringe First-winning So Young, and he’s on top form again with Scotland’s current hottest stage actor, Sandy Grierson, as its protagonist Robin. Although Grierson has pretty fierce competition for the spotlight in this excellent four-hander.

Adura Onashile (star of the spectacular Edinburgh Fringe/Dundee Rep smash, Roadkill), as Iris, is bold and believable. Alexander Tait excels in his triple role, particularly as the clueless young Court Officer, Albert. And the newly qualified RCS professional debutante, Sophie Fortune, is equally engaging in her multiple roles, most particularly as the young version of Onashile’s Iris.

This is Scotland’s version of The 40 Year-Old Virgin, but with several dimensions building on the movie’s one-note concept. In this, Maxwell deep-dives into the absolute fundamentals of what love really is, or means, to ordinary people. Specifically Robin’s life of denial, frustration, celibacy, and cloistered monkishness, as portrayed by both Tait and Grierson.

The reason Grierson has reached middle age as a full-blown virgin is gradually exposed as this satisfyingly long (nearly two hours) drama unfolds.  It really is a pleasure to enjoy a Fringe-like show being given the space to unravel at movie length, rather than constrained by the needs to shovel audiences in and out of theatrical spaces on the hour, every hour.  This is one of the more languid pleasures of Pitlochry’s season and the luxury of its multiple spaces.

Grierson smashes this as the forty-something, embittered Chief Sheriff clerk who’s early promise as a student of Law and Economics is broadsided by his life-changing experience at precocious Iris’ 21st birthday party.  She’s an Alpha female; sexually experienced, confident, and, to Robin, a guest, maybe a gatecrasher, that he barely knows – a goddess.

Iris is strangely attracted to the tongue-tied Robin, who exclaims, ‘Jings!’ at the sight of her step father’s broken celebrity Gibson guitar. It’s worth more than a car. But she’s oblivious. And forgetful. There should be nothing to bond this odd couple, but somehow a spark, a charge, attracts them to one another.

In fact, so attracted are they to one another that they vow to stretch out this moment of pre-coital joi de vivre for ever, or at least until they touch.  They agree to only ever have one touch – ever – a finger prick, a body graze, a kiss, a shag – whatever – it doesn’t matter, it’s only to be once, and then game over. And so we tread into One Day territory.  Is their relationship to be requited? Will they or won’t they?

Maxwell fashions a love story out of almost nothing. Two protagonists that have next to nothing in common, across a thirty year period that moves on, generationally, from their younger selves, with the younger actors now supporting the leads as their aging, unrequited love continues to play out. She, still a player. He, still a celibate.

The show actually climaxes in the finale of Act 1. A truly beautiful scene where Robin and Iris make virtual love without touching one another. It’s a delicate and beautiful piece of movement theatre and it sets up Act 2 perfectly. Did they consumate or not? The remainder will reveal all.

This is a clever, funny, touching and engrossing piece of Scottish theatre with an exciting cast, excellent direction, and technical delivery in a thoroughly engaging venue.

Alan Cumming has set out to create a season of greatness in Pitlochry and this show is playing no small part in delivering his ambitions.

Inexperience is at Pitlochry Festival Theatre until Sat 4 Jul 2026