A COUPLE of weeks ago, Ian Pattison of Rab C Nesbitt fame gave us an Oran Mor lunchtime show that was perfectly structured to go the comic distance, but ruined by the nasty texture of the writing. This week, by contrast, the triple writing team of
Chewin' The Fat's Tom Urie, Matthew McVarish and Donald Cameron produce a play-with-songs that has barely any structure, and no ending at all; but that sparkles with such a jolly, life-enhancing level of verbal and musical wit that it's completely irresistible.
The scene is set in the grubby Balmaha pub owned by one Billy Prestwick, an ageing fortysomething ex-rocker and one-man obesity crisis who still knocks out the odd song, while overdosing on his own high-fat bar snacks. The twin pillars of his none-too-glamorous existence are his son Elvis, who has his own musical ambitions, and his lovely sharp-tongued barmaid Heather, who seems to be half in love with him, but who expresses her feelings by abusing him roundly at every opportunity.
The plot barely moves at all, as Elvis and Heather argue with Billy and each other about whether to stay or go. But the quality of the postmodern banter is world-class, covering everything from nutrition and migration to celebrity culture with effortless cheek and flair; and it's delivered with near-perfect timing – despite a few first-day glitches in Maggie Kinloch's beautifully-pitched production – by a five-star cast featuring Urie as Billy, McVarish as Elvis, and the gorgeous Kathleen McDermott as Heather. It has to be said that the play's complete lack of a conclusion spoils the party a little, and lets all three characters off the hook. But on a wet holiday Monday, the packed Oran Mor crowd loved it all the same; and with good reason.
The full article contains 315 words and appears in The Scotsman newspaper.
