Written by Martin Travers

Directed by Kate Black and Annmarie Strain

Progress is inevitable. So, it’s argued. But is the push for clinical conformity and pounds in the pockets of developers worth the annihilation of opportunity and community? Worth the displacement of the only areas which remain open for those marginalised who require local communities and self-confidence more than a minuscule one-bedroom apartment for high-paying professionals?

A collaborative work between playwright Martin Travers, In Cahootz’s Creative Citizens project, and communities within Glasgow’s recovery network (with an intention toward drama, performance, and music), The Heckleburnie Hecklers channels a distinctly communal theme of action and friendship through this new production – one which infuses musicality, some light-footwork, and lashings of humour and experience into telling a necessary, and contemporary, tale with more authentic heart and vigour than what comes from many of the larger-scale production companies.

On the outskirts of Glasgow, with as beating a pulse of life as its ambitious and lively residents, exists a small town with a smaller community hall – but for the locals, this is everything. It’s the hub of the community for toddlers and older generations and houses much of the educational tools and space for the local band and outlet and a safe space for mental health. It’s also in a prime real-estate location. And despite the unconcerned councillor who sees an easy paycheck, and the underhanded efforts of property developer Amanda Adams (played with a delightfully villainous relish by Annmarie Strain), the titular Heckleburnie Hecklers aren’t giving up the fight just yet.

Looking to progress and step outside their comforts, the Creative Citizen team figured that what they really needed, what they wanted to drive into this communal production, was a band. The only issue? They don’t have one. Easy enough to fix though, right?

The recently formed Cauld Sweat is Glasgow’s newest band, featuring bandmates who had previously never touched an instrument and some who had the occasional busking gig. Most impressive – some of the vocalists had only ever done a spot of karaoke. The musical nature of the production zings with life and cuts through faster than any speech or language often can. Music speaks to communities from every angle of age, experience, and background – it’s the ultimate uniting force. Penning two original numbers and featuring a selection of film pop hits, Matthew Snook’s music and sound management causes the Heckleburnie Hecklers to step forward as a solid addition to Scottish musicals, incorporating the music as both an entertainment medium and driver of the story – all pitched well, with no blow-outs and strong projection. 

From Philip Foley’s percussionist, Jon Kerr’s bassist Declan Mooney, Caitlin McPhee’s sardonic Daisy the Drummer, to John Coyle’s infectiously chipper Baxter ‘Two Soups’ Campbell, the production sounds as terrific as it looks, and any future revivals or tinkers would do even better with additional new songs to flesh it all out. But one element the production truly soars is with the vocalists who come in a variety of areas – including ‘The Nightmare’ caretaker played by Willow Whyte, who just wants in on all the local fun, or some terrific vocals and performance from Kellymarie Lindsay as France Rose Smilie who often holds together much of the production’s comedy and expositional moments. But what a star the production has with Ruby Hannon, playing Barbara’s younger sister Marylin. 

In a magnificent showcase of vocals, some light dance work, and plenty of mirths, Hannon bookends a production with a gleam of hope to some of the other performers’ lived experience and determination to secure a better future for those around them. Along with the likes of Rosie Smith’s backed-into-the-corner council worker Maureen Bratt, John Galloway’s Big Johnny V, and Pauline Coleman’s hilarious Barbara, there’s such a wealth of talent to draw on, Black and Strain make full use of Travers’ script to inject life into the show. And when surrounded by Rachel Mimiec’s set design and artistic banners, it’s difficult not to become lost in the emotion of it all.

And though elements of the writing are aimed at the casual audience, with a couple of predictable gags and wrap-ups to offer a nice tidy ending, when Travers’ words are spoken with a frankness that comprehends a lived experience of precisely the sort of things this production is highlighting, Heckleburnie Hecklers shines with commanding authenticity and passion (most notably from Adam Scott and Ann Wilke). When discussions are held about the lacking opportunities, sometimes basic ones we take for granted, there’s an unrivalled authenticity and experience in the language which comes out – unseen in many professional productions which can lack the tenacity.

And even for performers with only a handful of lines, the entire company brings the same resolve and care for one another and those voices not on the stage. There’s a two-fold reason for this production’s existence and success: its message and enjoyment. And while Traver’s script and some keen performances secure the former, Black and Strain’s direction ensures everyone on that stage is having a gem of a time. And that’s the crucial moment here. It’s such a treat to see such a joyful and warming piece of theatre and to see equal appreciation from the audience as from the performers who have been able to share their journey with us all.

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