Created by Sharron Devine

Soundscape Design by Ben Scappaticcio

Review by Dominic Corr

Pitlochry Festival Theatre

Surrendering one’s personal space to a total stranger in the name of high art is a gamble that usually requires a stiff drink beforehand, yet the latest offering nestled within the greenery of the Pitlochry Festival Theatre makes a remarkably persuasive case for blind faith. Created by Sharron Devine, and originally commissioned by Chris O’Connell for the avant-garde Coventry company Theatre Absolute, this Scottish premiere of The Only Way Out Is In undergoes a profound geographical metamorphosis and finds a long-overdue and welcome home nestled in the back of Pitlochry Festival Theatre’s Gardens, at the Pavilion – a wonder in its own right.

Stripped of its urban origins, the piece relocates to the secluded pavilion deep within the theatre’s leafy sanctuary, inviting a single audience member at a time to unplug from the digital chaos of the modern world and step into a bespoke sensory cocoon; it requires trust, a deep-breath, and an open mind. Inspired by the egalitarian philosophies of the late Benjamin Zephaniah, the experience serves as a quiet, radical interrogation of human connection, asking what we are truly willing to shed in pursuit of a fairer existence.

Venturing into this hyper-intimate theatrical experiment requires a brief, scenic pilgrimage through the venue’s horticultural labyrinth, a prelude that effectively recalibrates the nervous system before the performance even begins. The threshold of the pavilion serves as a portal into an alternative reality that feels equal parts mystical apothecary and nostalgic living room, complete with the rich aroma of burning incense and the unexpected, comforting crackle of pop music spinning on vinyl. It’s the epitome of a performance in which the audiences’ senses are the stars, but Devine is in no small part a central element in its success. Guided through this uncharted territory, the participant is coaxed into a state of heightened awareness that deliberately deprives the eyes in order to awaken everything else. Through a series of delicate prompts involving tactile exploration, fragrant discoveries, and deep listening, the production shifts the focus away from passive spectating, transforming the visitor from a mere ticket-holder into an active co-creator of the narrative landscape.

The introduction, the concept, is touching yet simple. Scattered in the pavilion’s make-shift ‘room’ is a series of knick-knacks and curious. Bit and bobs which are integral to Devine’s memories of their grandmother; and a journey starts with selecting one amidst the many. Weaving these disparate sensory threads into a cohesive emotional tapestry is a challenge that relies heavily on a seamless auditory environment to prevent the spell from breaking. The meticulous sonic architecture crafted by Ben Scappaticcio acts as the true director of the mind, effortlessly transporting the listener from the oppressive, mechanical clatter of gridlocked city streets to the rhythmic, cleansing patter of a coastal downpour.

This exquisitely balanced soundscape mimics the trajectory of a deeply grounding meditation, though the sheer brevity of the encounter means the experience occasionally feels as though it concludes just as the deeper psychological walls begin to crumble. A slightly extended duration, or a more adventurous integration of the visual field towards the climax, might have pushed this fascinating experiment from a superb fringe-style curiosity into an entirely transcendent masterpiece.

Commanding a room with absolute vulnerability whilst maintaining a welcoming presence is a rare gift, and the solitary guide orchestrates this delicate dance with an intuitive, disarming grace. Devine anchors the entire encounter with an infectious sincerity, exuding a grounded warmth that instantly neutralises the inherent awkwardness of a one-to-one performance. She commands the space not with theatrical grandiosity, but with a quiet, observant empathy that ensures the participant feels entirely safe whilst taking an emotional leap into the unknown. By the time the journey concludes, opening up a panoramic vista of the stunning Perthshire landscape, the production achieves a status-quo of healing; leaving the participant to contemplate our fragile relationship with the natural world through a significantly sharper lens.

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