Book by Stephen Greenhorn

Direction by Malcolm J. Burnett

Musical Direction by Finlay Turnbull

Tickets from £16.00 (waiting list)

While the all-American musical is underway at the Festival Theatre, the all-Scottish treasure that is Stephen Greenhorn’s Sunshine on Leith radiates a burst of bright jukebox enjoyment throughout Edinburgh with this deeply beloved musical featuring the songs of The Proclaimers. And instilling a sense of local charm and talent, The Bohemians Lyric Opera Company’s production isa heartfelt and impressive one which understands the musical better than other professionally staged versions.

With so many re-tellings and stagings, audiences find the interlacing stories of Sunshine on Leith as familiar as their own lives. Hinging on the return of soldiers Davy and Ally and their adjustment to a new Edinburgh, a new Leith. Greenhorn’s is a well-written story: familiar and authentic while slathering itself in enough melodrama to hold together the string of Proclaimers songs which are often remarkably well fitting to the situation.

A story of family and love, both lads face the prospect of maturing and settling down with their respective partners. For Ally, played with tremendously infectious energy by Scott Binnie, returning to his long-distance partner Liz (his best pal’s sister no less) comes with the stark awakening of what the pair do now. And for Davy, who plunges into the uncertainty of dating Yvonne, an English nurse, who moved up to Edinburgh some time ago and the commitments of a meaningful relationship.

The second act departs a tad, with the end of act one pivoting to Davy and Liz’s parents Rab (Colin Cairncross) and Jean (Christine Mills) stepping more into the spotlight of focus for a touching dimension of relationships from an older generation who face challenges the young’uns could only have nightmares of. Sunshine of Leith rounds itself into a loveable story, a simplistic one (minus the soap opera subplots), but Greenhorn’s story still rings relatable and pleasant, even with the outdated references to long-gone Edinburgh icons like Jenners.

Usually a staunch naysayer in using heavy projections, Sunshine of Leith puts their backdrop projection to tremendously effective and clean use. With J. Burnett’s rather brilliant direction. Offering a rare chance for the production to use still images of the pubs and locales mentioned in Greenhorn’s book. It certainly builds a far more communal environment, with audience members humming in agreement and a shared acknowledgement. But there is a use of physical set dressings; bus stops and lockers, and an NHS reception desk – all welcome, outside of the transitional moments which can occasionally take a touch too long to shift (and in a couple of instances lasting longer than short exposition scenes).

Through Rab and Jean’s story, the heart of Sunshine on Leith becomes far more apparent and is likely what maintains the story’s favour with audiences (that, and the tunes of course). Cairncross and Mills have a tricky task but rise to the occasion vocally and in their humour and delivery; for the first time, a genuine chuckle comes from Jean’s ‘Fifty Shades’ line. The conflict is tangible and genuine, both from Cairncross’ lament for his past mistakes and a truly haunting rendition of the titular Sunshine on Leith from Mills communicates everything the character needs to in forgiving, but not forgetting, her husband’s past with pathos and sincerity. Amy Macrae, playing the result of Rab’s ‘mistakes’ in the past, his unknown daughter Eilidh, has an appropriate presence without feeling overblown or melodramatic – a subtle performance, still notable.

And as for the two lads, Colin Sutherland’s Davy and Binnie’s Ally are carried with a blinding charisma. There’s a confidence that just ever so slightly skirts into that Scot’s bravado that hits the mark perfectly and pairs the two well against one another as Binnie’s role takes a more downtrodden edge. This charm is edged by the jabs and strong chemistry they share with the ensemble and their on-stage love interests Yvonne (Cathy Geddie) and Liz (Kirsty Hogg). Both zone in on the emotion of the production, working as NHS staff nurses and dealing with the endless shifts and losses that comes attached to it. Geddie’s pitch-perfect tune and presence bring a more grounded performance than their stellar Maria from Southern Light Opera’s Sound of Music while Hogg’s later rendition of Letters from America becomes one of the instant hits of the night, supported by a strong ensemble, and Finlay Turnbull’s sharp musical direction. 

It’s a large ensemble, occasionally a bit too overwhelming for the size of the stage as big numbers are belted and rub off one another in harmony. Turnbull’s guidance of the live band however is sublime and captures each number tone well, while Fiona Burn’s choreography offers plenty of lively movement and sharp directions when there are a few less ensemble performers on-stage. And though the entire Bohemian troupe turned in some strong performances, certain standouts like Max Mitchell’s peppy call-centre instructor, Ethan Baird’s multiple roles (including a solid turn as the barman), or backing provided by Maisie Dury, Emma Clarkson, and Marianne Hendry all bring some top-notch vocals and humour. 

To capture the complexities of love: romantic, plutonic, familial, and yes, even national, is a tremendously tricky task. Greenhorn’s Sunshine of Leith certainly taps into a deep Scottish adoration for The Proclaimers – but the mix of humour and everyday situations keeps it an engaging piece with an intensive working-class core, all framed with the brutal honesty of the Proclaimers lyrics. The Bohemians continue this passion with confidence and skill, inviting everyone in Edinburgh (and further) into a warm embrace and a cracker of a show.  

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