Created and Performed by Emery Hunter and Bobby Bradley

Directed by Neil John Gibson and Jen Bates

Review by Dominic Corr

Scottish Storytelling Centre

Revolutionising, modernising, reinventing – however you wish to describe it, it’s tricky to bring an ancient mythos to new audiences, particularly with Scottish folklore. In Dregs, the Selkie myth is brought—gloriously—into the sticky, neon-lit chaos of a Saturday night in Glasgow. This d/Deaf-led production, performed in British Sign Language and spoken English, is a vibrant, open-hearted piece of visual storytelling that blends folklore, club culture, and emotional truth with remarkable clarity and charm.

Emery Hunter, who also provides BSL throughout, plays the Selkie—a creature of legend who has lost her seal skin and is stranded on land. Her performance is magnetic: fast, expressive signing paired with physicality that channels sass, sorrow, and strength. She’s not half-human, half-seal, as the myth often suggests—she’s both, fully. And that duality becomes the emotional core of the show. Bobby Bradley’s Man is a mortal who stumbles into a nightclub for magical beings and ends up entangled in the Selkie’s quest to return to the water. Bradley brings a warm, bumbling energy to the role, growing in confidence as the show progresses, even beginning to sign himself. Their chemistry is natural, funny, and deeply affecting.

The show’s new set dressing is simple but striking: a bare stage strewn with rubbish—discarded pint glasses, takeaway boxes, and nightclub detritus – the halved shopping trolley is the real winner. It evokes the grime and glamour of a night out while cleverly mirroring the Selkie’s sense of displacement. The minimalism allows the performers to shine, and the visual storytelling to take centre stage. Direction by Neil John Gibson and Jen Bates, with movement consultancy from Ruxy Cantir, ensures the rhythm never falters. The transitions between scenes are fluid, and the use of Visual Vernacular (VV) in the latter half is a standout moment—no spoken words, just gesture and expression, and yet the meaning is crystal clear.

What makes Dregs so compelling is its openness. It’s a show that invites everyone in, regardless of language or background. The integration of BSL isn’t a gimmick—it’s essential, and it’s done with care and flair. The narrative explores themes of belonging, identity, and translation, both literal and metaphorical. The Selkie’s struggle to be understood in a sound-heavy world becomes a powerful metaphor for d/Deaf experience, and the show never lectures—it simply shows. That said, Dregs could benefit from a touch more teeth to the myth. The stakes feel low at times, and while the emotional beats land, the myth’s darker elements—coercion, exile, transformation—are softened. There’s room here for more tension, more bite. The show’s heart is in the right place, but a sharper edge could elevate it from charming to unforgettable.

Still, this is a beautifully crafted piece of theatre. Hunter and Bradley are a formidable duo, and their storytelling is rich with humour, empathy, and magic. Dregs is a contemporary folktale that speaks to modern audiences with clarity and joy. It’s a celebration of connection across difference, and a reminder that sometimes, the most powerful stories told are often those shared without words.

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