It’s fitting that, this Eastertide, a resurrection of sorts lies at the heart of this latest collaboration between Glasgow’s Òran Mór and Edinburgh’s Traverse theatre. Unlike the original, however, its consequences swing violently between the comic and the brutal, and seldom in a way that uses one to build on the other.

Like the overtly symbolic chicken stock bubbling away on the cooker, we quickly realise that Mary had finally reached boiling point after years of verbal and likely physical abuse.

Broth initially grabs the attention: a bloody-headed man slumped over a kitchen table, an old woman sitting next to him eating biscuits, while two younger women stand horrified by what they see. As their conversation stutters forward, it feels like some dark sitcom; grandmother Mary appears totally oblivious of her husband’s dead body, while stunned daughter Sheena and granddaughter Ally repeatedly fall back on their own laughter-inducing catchphrases – not least Sheena’s frequent assertions that she’s going to be sick.

Disappointingly, despite being a play predominantly featuring three women, Broth is all about the man dripping blood onto the tablecloth. The unexpectedly resurrected Jimmy, we discover, is a drunkard; worse, the self-declared hard man is – at best – “an old git who can’t hold his drink”. Like the overtly symbolic chicken stock bubbling away on the cooker, we quickly realise that Mary had finally reached boiling point after years of verbal and likely physical abuse. So when Jimmy staggered home from the pub, angrily demanding beans on toast rather than broth for lunch, she had finally lashed out at him, with the now blood-covered kettle in her hand.

Ron Donachie is undoubtedly a genuine powerhouse as Jimmy; a barely contained volcano of rage at the world and those around him. Ironically enough, he benefits from having the most character development of all the characters, as we see the initially defensive, bile-filled bully finally comes to recognise the consequences of his actions on those closest to him.

Kay Gallie as Mary successfully nails her passive one-liners – not forcing the voice of a world-weary woman, absent-mindedly wondering whether any other of the world’s religions could offer her a second (and presumably better) life. Molly Innes as Sheena, however, has little or no emotional room in which to move, stuck from the start in a shrill, repetitive hysteria. The same can be said for Kirsty MacKay, even though Ally technically has a rite of passage of sorts, as the young woman finally learns the whole truth about her grandfather. Yet, arguably, Vincent Friell as Jimmy’s mate Patch comes across as a more rounded character, the mate who’s well aware of Jimmy’s flaws, is clearly concerned about Mary’s safety, and yet isn’t willing to intervene directly.

Domestic abuse, and its life-long consequences, are not the most obvious subjects for a comedic drama, even one as decidedly dark a one as this, but that isn’t Broth’s main problem. Fine performances and clear direction by Andy McNamee simply don’t compensate for a script which doesn’t quite make you believe in what’s happening enough to actually care about the people it’s happening to.

Reviews by Paul F Cockburn

Multiple Venues


Dundee Rep Theatre / Macrobert Arts Centre

The Yellow on the Broom

Underbelly, Bristo Square

Tom Neenan: It's Always Infinity

Assembly George Square Studios

Police Cops in Space

Gilded Balloon Rose Theatre

Rik Carranza: Still a Fan

Gilded Balloon Rose Theatre





The Blurb

Edinburgh, Scotland, 2014

Mary is making stock again. Daughter Sheena is no help, as usual – she never could stand the smell of chicken on the boil. Granddaughter Ally was always much more use around the kitchen, but she seems more concerned about her Gran’s state of mind today. And nobody is talking about what’s happened to Grampa Jimmy. Time tae poap the kettle oan, likes.

Tim Primrose is an Edinburgh based writer who wrote his first full length script, this here now, for the Lyceum Youth Theatre at the age of 18. Since then, he has written more than twenty scripts for youth theatres of all ages across the country. His 2002 play Porcelain Dolls was recently translated into Norwegian and performed at the Rogaland Teater, Stavanger, under the title #Sweet. His directing work includes the 2011 Fringe sell-out Hex, which he co-wrote with Sam Siggs. Broth was first performed as a twenty minute short, as part of the Traverse 50 project in 2013.