Based on Compton Mackenzie’s Book

Directed by Annie McKenzie

Continuing their eighty years, with absolutely no sign of stopping, Edinburgh People’s Theatre returns to its spiritual residence with their long Edinburgh Festival Fringe relationship, this time in Mayfield Salisbury Church Hall to perform an exceptionally well-loved and brilliant production, Whisky Galore.

Desperate for a drop of the water of life, a Scottish island community struggle with the war-time rationing of their favourite pastime. Gloom descends upon the land as the rations aren’t coming, the reserves run dry, and the ferry from the mainland is overdue. But when the S.S Cabinet Minister runs aground in the fog, containing more than a few thousand bottles of the good stuff. Well, you can only imagine what’s in store now.

The crux and namesake of the production occur at the mid-point, and though this may be an eyebrow or two for some it continues to demonstrate EPT’s dedication to respecting the pacing of Mackenzie’s story and adaptation for the stage. So too is their decision to splice the production into its equal acts.

With a relatively enormous cast of characters, with a nineteen-strong cast (with double-ups) there’s a lot for the EPT team to balance and juggle, but they accomplish it with remarkable skill and gusto. Guiding us through this diverse cast of tipple-takers is Duncan Ban Macroon, our narrator, played with a genuine earnestness, yet still with a pep in their step, by Ronnie Millar.

And the whole rogues’ gallery of the islanders covers people you’ve met all over Scotland and beyond. Jaeden Reppert and David McBeath are a delightful double to watch on stage, hitting all of the right notes of humour and working well off of one another’s set-ups while not overplaying their intoxicated nature. While Graham Bell’s Home Guard Captain Waggett and John Webster’s sly Postmaster offer a nice deviation from the pair, but still bring in well-timed comedy.

The entire ensemble does a sterling job throughout the production, Lee Ian Moffat, and Kevin Edie, work tremendously off of Lynn Cameron and John Warren’s doubled-up roles. And the quartet of young lovers brings much-needed freshness to the future of the island and the prospects (or lack thereof) with Allan Munro, Jelly Edie, Calum Philip and Ellie Cannon.

But they can’t all be saccharine and welcoming. Just take the thunder battleaxe Mrs Campbell, armed with her trusty ‘good book’ and all times. Lyzzie Dell takes to the role with a zeal of enjoyment at playing such an enormously funny, yet threatening figure. While the likes of David Purdon, Gillian Scott and Morag Black offer additional laughs and merriment in smaller parts.

Like their many shows at the Church Hill Theatre, here Anne McKenzie’s direction utilises the entire space of the venue – extending the action, entrances, and even a spot of dancing, into the stalls and various doors around the venue. It’s all set to Steve Robert’s lighting, accompanied by Peter Horsfall’s sound design which transports audiences to the island with relative ease – a no-thrills production, with plenty of robust quality which is confident in its performances and direction of an already solid script.

What a superbly gentle comedy, but not afraid to wade out into the stormier of seas for a solid laugh or two. Charmingly carried performances with good-natured humour and comradery: go on, you’ll stay for another?