Sunshine on Leith

Sunshine on Leith is testament as to the importance of having theatre with a distinctly Scottish voice. And while some play scripts may have documented the multiple stories one can find in Scotland, such treatment has been sorely lacking in the musical theatre form.

Which is why it’s sad, almost tragic, that Leith doesn’t work any better, for it is a competent production of a script that is filled with flimsy, stereotypical characters and plot threads that are best described as ‘convenient’.

Stephen Greenhorn’s script is riddled with missed opportunities. It has some decent ideas, but most of them barely manage to extend past a single moment. He also has a habit of over-explaining scenes, making many of the musical numbers a bit redundant for the story.

What is a triumph, however, is Hilary Brooks' almost miraculous work as musical director. She has moulded The Proclaimers’ music into impressive theatrical treats, allowing songs composed for two distinct male voices to be sung by an ensemble that includes a number of women. That these songs work as well as they do is down to both the Reid brothers’ often neglected brilliance, as songwriters and Brooks’ ability to shape these songs into theatrical gems.

Leith may not be the great Scottish musical it wants to be, but it is a fairly enjoyable production that has spirited performances, polished direction and contains some wonderful musical touches. It’s just a shame the script isn’t up to the potential this piece clearly shows.