Do not be misled by the headline descriptions of this new play. Yes, it is set in an ex-mining village, it has a brass band competition, it has generational conflict, and the finale includes a full brass band. But this is not another rerun of using a group activity to bring together contrasting characters to examine a slice of society. Instead, this compelling production focuses on the battles of one person: the bright but defiant teenager Keli. The storytelling moves through mythic, realist, musical and satirical modes, capturing Keli’s pressurised life through comedy, entrapment, despair and euphoria.
A text that feels absolutely fresh; with wit, intensity and touching emotion
Produced by the National Theatre of Scotland and Lepus Productions and directed by Bryony Shanahan, the show is a masterclass in theatrical components working seamlessly together. The drama is elevated by original, vibrant music, performed by a tight ensemble of brass instruments, drums, guitar and singer. Andrew McMillan’s tenor horn solos are crucial to the narrative, with brass instruments used alongside electronic effects to evoke atmosphere and location. Sound design is by George Dennis. Alisa Kalyanova’s pared-down but ingenious sets and Robbie Butler’s dynamic lighting allow for instant, and at times simultaneous, shifts in setting. This is a production where it is difficult to resist acknowledging every contributor.
The show includes two actresses making their professional debuts. Liberty Black plays Keli, and for two hours she is almost constantly on stage, delivering a demanding script with unwavering emotional intensity. She seamlessly transitions from domestic, quiet scenes with her mother to heated confrontations, embodying both despair and joy as she expresses the transformative experience of music. Olivia Hemmati is the other debut, demonstrating strong comic skills in two contrasting roles.
The ensemble is anchored by two seasoned actors, Billy Mack and Phil McKee, who excel in their roles. Karen Fishwick also stands out. In addition to playing the euphonium, she is almost unrecognisable in the dual roles of the comedic but coercive Lady Snaresbrook and Keli’s mother, Jane, who suffers from severe anxiety and agoraphobia. Fishwick effectively conveys the character’s swings between strictness and vulnerability, creating poignant moments with Liberty Black as Keli, who is effectively her carer.
The music and script are by Martin Green, whose text is both fresh and emotionally resonant, combining wit, intensity and tenderness. Green skilfully handles the subject matter without a hint of sentimentality, instead infusing the play with warmth and humanity.
Keli says, “At band we make things,” and the play becomes a celebration of music as a unifying force where everything comes together to “make sense.” This is a production that does just that. Unmissable.
