Al Smith’s re-telling of Nikolai Gogol’s classic tale Diary of a Madman, takes a tour through Scottish history and culture, questioning the political future of Britain post-Brexit. Where is home? A question many may ask after the European referendum. Pop Sheeran (Liam Brennan) thought he knew his, but how much does he really know about the past or present? A contemporary, nationalistic piece that’s quick and witty but beware of the dark turn, through Greyfriars graveyard and into the mind of the mentally ill.
Obsessed with heritage, infuriated by lack of status, proud of the family trade, the Sheeran family are known for painting the Forth Rail Bridge, day by day, all year round. But when a corporation buys his beloved Scottish icon, his world crumbles around him and when it does, watch out for the red paint.
Commissioned by Gate Theatre, the world premier opens at the Traverse this Fringe. Two teenage friends Sophie (Louise McMenemy) and Mel (Lois Chimimba) live a world apart from Pop Sheeran, who is out of touch with the modern world and the technological age. Holding the two together, caring mum and wife Mavra Sheeran (Deborah Arnott).
Both McMenemy and Chimimba’s performances are naturalistic; they capture the lives of two girls growing up in Scotland, who have barely left South Queensferry. Chimimba is really hilarious, a great contrast against the compassionate Brennan, but equally as strong.
Guy Clark makes his professional debut as Harrow educated, son of a Knight, Matt White (excellent pun). He has come to test out the innovative paint, but ends up a little too involved and ends up awakening the madman’s suspicion and paranoia.
With its dedication to both Braveheart and Nicola Sturgeon, this play hits a patriotic nerve. Diary of a Madman is hard hitting but this tragicomedy gets a bit too ridiculous. It lacks flow: there are some parts of the play that could also question if they are where they belong.