Written by Alan Spence
Directed by Liz Carruthers
Review by Dominic Corr
There is something quietly seismic about watching Sailmaker unfold in the intimate setting of The Studio Theatre, where Alan Spence’s text (with many autobiographical elements), revived by The Gaiety in association with Beacon Arts Centre, finds a renewed emotional charge. The production, directed by Liz Carruthers, arrives in Edinburgh as part of its 2026 Scottish tour, carrying with it a reputation for tenderness, grit and a distinctly Glaswegian poetry that resonates across generations.
The story remains one of Scottish theatre’s most enduring portraits of working-class life. At its centre are Davie (Andy Clark) and Alec (a superb Alexander Tait), a father and son navigating the aftermath of a family tragedy. Alec, academically gifted and hungry for escape, pushes toward education and religion, while Davie, once a proud tradesman, slips into grief, unemployment and the slow erosion of purpose. Their relationship is tethered to a broken model yacht, a symbol of promises made and never fulfilled, and a reminder of the gulf between aspiration and reality. Spence’s writing charts a decade of their diverging paths, capturing the ache of growing up and the quiet devastation of watching someone you love drift away.
What strikes first in this staging is the clarity of its storytelling; Carruthers leans into the lyrical quality of Spence’s writing, allowing the language to breathe with a rhythm that feels both contemporary and timeless. The production’s emotional intelligence is matched by its visual restraint thanks to some tremendously effective design in Claire Halleran’s sparce set and costume which evoke a Glasgow of peeling wallpaper, worn fabrics and the faint glow of memory, creating a world that feels lived in rather than reconstructed. The space if filled with Wayne Dowdeswell’s lighting which gently shifts, illuminating moments of humour and heartbreak with equal care, while Gary Cameron’s sound design and original score underscore the play’s emotional beats without overwhelming them.
The performances are the anchor of the evening, and the ensemble work is finely tuned. There is a wry humour threaded through the production, the kind that emerges from hardship rather than in spite of it, and the cast handle this tonal balance with assurance. Clark’s portrayal of Davie captures the character’s contradictions and is strikingly layered, the flashes of charm and the crushing weight of disappointment, while Alec’s journey is rendered with a sensitivity that avoids sentimentality. Their scenes together pulse with authenticity, revealing the unspoken love and mounting frustration that define their bond.
Elsewhere, supporting roles are delivered with nuance, each performer contributing to the texture of Alec’s world. Tait’s scenes with Lewis Kerr as his cousin Ian fuel much of the script with a visceral and genuine chemistry. The encounters and the glimpses of community life are played with a lightness that contrasts the heavier domestic moments, reminding the audience that childhood is rarely one thing at a time. The ensemble’s ability to shift between characters and emotional registers gives the production a fluidity that keeps the narrative engaging throughout; notably with Paul J Corrigan’s contrast to Davie as brother Billy, offering a stability which reinforces both their, and Clark’s performances.
A few transitions feel slightly abrupt, and the intimacy of The Studio Theatre occasionally magnifies moments that might have benefitted from more subtlety. Still, these minor blemishes do little to diminish the overall impact. The heart of the play remains intact, beating steadily beneath the surface, and the production honours that heart with sincerity. What emerges from The Gaiety and Beacon is a deeply human evening of theatre, one that captures the fragility of hope, the weight of responsibility and the quiet heroism of ordinary lives. Sailmaker continues to resonate because it understands that growing up is as much about loss as it is about discovery, and that love, however imperfect, is often the only thing that keeps us afloat
Resonating
Sailmaker ran at The Studio Theatre until March 21st, and now continues on tour
Running time: One hour and twenty minutes without interval
Photo credit: Tommy Ga-Ken Wan
Review by Dominic Corr (contact@corrblimey.uk)
Editor for Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
