Written by Pauline Lockhart

Directed by Niloo-Far Khan

Music by Alan Penman

Home is where the heart is, so the idiom goes. But when your heart just isn’t ‘in it’, where do you call home?

Struggling at school, frustrated with life, and without a source of understanding to turn to, Caitlin begins to act out more and more (both at school and home) and constructs a plan to get her life back on a path that it was perhaps meant to be on, one with her birth mother. Adopted, Caitlin has managed to create an online relationship with her birth mother over Snapchat, whilst her adoptive mother spends her days worrying about bills, feeding Caitlin, and trying to understand her deteriorating attitude at school and in life.

Constructed with snippets of autobiographical experiences from its creatives, Forever Home is a brand-new musical from Pauline Lockhart and Alan Penman, stitching together original music and lyrics with humour to show audiences that even when we cannot empathise with someone, there are still things we can do to help: they just have to recognise they need that help first.

Caitlin’s relationship with her adoptive mother is frayed, though we’re never privy as to why until Forever Home rounds the finish line and into the penultimate number. We’re less shown the relationship strains which Caitlin has, and more guided through song or expository dialogue which leaves less room for authentic growth between characters. However, Lockhart’s writing has a more intuitive focus on Caitlin’s thoughts, feelings and anxieties – rather than outright explanations and examples as to why someone may run from home – it’s both to the production credit and a drawback.

From A Mother’s Song to Islander, Kirsty Findaly’s vocals and performance capabilities have always been impressive and distinct – carrying a unique voice which conveys the emotional structure of the number and enhances the lyrics. Bringing depth to Caitlin, even when the comedy leans into the pedestrian, Findlay still connects with an older audience. The writing is at its most potent in the final moments, where Caitlin opens up to the school and gives Ms Mackenzie (Chloe Hodgson) both barrels, bringing up damn fine points about the lack of mental health understanding and education in schools, both for the students but more principally in the teacher training. 

An intermediary to help the audience see Caitlin’s struggles outside of home is her best (well, only) pal Nicole, who Hodgson brings to life with plenty of humour, charm, and spirit. Dipping into additional roles as the school’s headteacher Ms Mackenzie, and the local police officer offering a hand throughout the show, Hodgson has a myriad of different roles to play with and makes each their own.

Rounding out the three-hander is Christina Strachan’s emotive role as Caitlin’s adoptive mother. An unnamed role but one with a tremendous amount of weight behind it, Strachan gives those in the audience a foundation if they’re unfamiliar with adoption or the struggles of raising kids who find things difficult. Penman’s music has a necessary bounce, and though Lockheart’s lyrics may not always be the most memorable, save for Findlay’s solo towards the end which finally relinquishes their angst and crying for help, they are serviceable for the storytelling mechanics of the musical, often offering a light-hearted break-away from the melancholy and weight of the story.

Humorous, with a strong three-hander leading the performance, Forever Home will strike familiar to those who often find themselves without a voice or point of reference. A touching piece on adoption, identity and family, Lockheart’s script isn’t going to resonate with everyone but offers an enjoyable insight into a common avenue of life which isn’t given the time of day by other writers. Perfectly enjoyable, with a bouncing score and one or two notable numbers, it’s a satisfying and emotive opener to the Play, Pie, and a Pint season before touring to Pitlochry and Ayr.