Written by Lubna Kerr

Review by Dominic Corr

Pleasance Courtyard

For a lot of us, lunchtime at school was bliss. Pals, away from class, and a handful of snacks which would bring euphoria with the inevitable crash. For a lot of us though, there was one ruler of this domain: the bully. Lubna Kerr’s Lunchbox is a deeply affecting one-woman show that tackles bullying, identity, and resilience with striking emotional clarity. Inspired by Kerr’s own experiences growing up in Glasgow, the play follows two teenagers—Steven, a troubled Scottish boy, and Lubna, a Pakistani girl—whose lives diverge despite sharing the same postcode. Through this lens, Kerr explores nature vs nurture; asking whether kindness, community, and personal choice can overcome trauma and prejudice.

While their initial tale, Tickbox, followed the journey of their parents, and Chatterbox (also running at the Fringe this year) chartered Kerr’s early life, Lunchbox’s divergence ito being primarily about Steven is a clever mechanic (even with the off cameo from the woman herself). What makes Lunchbox truly compelling is Kerr’s storytelling craft. She performs distinct characters, shifting between them with nuance and emotional precision. From the aggressive bravado of Steven to the quiet strength of Lubna, or the chipperness of the local shopkeeps and drama groups, each persona is drawn with care, and Kerr’s ability to embody them all is a testament to her versatility and stage presence. The narrative doesn’t shy away from difficult truths—bullying, racism, parental violence, and homophobia are all addressed head-on, with a raw honesty that never feels gratuitous. Kerr’s writing is sharp, often laced with humour, and her performance invites empathy without sentimentality.

With firmly experience hands in the shows direction, Emily Ingram and dramaturge provided by the supremely talentedJen McGregor, the show’s pacing staves off fears of slowing – even with the more intimate storytelling nature. Transitions between scenes and characters can feel a touch sluggish, and some moments lose momentum as the narrative shifts, but this is recovered well with Lubna’s characterisation and the teams use of movement, bringing in small interludes of prop use. The minimal staging suits the intimate storytelling format, Ingram’s tight direction helps maintain dramatic tension and better highlights the emotional peaks of the piece.

A powerful and necessary work Lunchbox unpacks plenty of substance. Kerr’s ability to weave complex social issues into a personal and accessible narrative continues to be impressive, and her performance is both heartfelt and courageous. The show encourages reflection—on who we forgive, who we help, and how we choose to show up for others. It’s a fitting final instalment in Kerr’s trilogy of “box” plays, and a reminder that storytelling, when done with such integrity, can be a force for change.

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