Thhroug the Shortbread Tin tackles the greatest literary hoax of all time alongside the complexities of modern Scottish identity, asking whether gift-shop tropes hold a culture back or push it forward. Ahead of the run, we spoke with creator Martin O’Connor and the National Theatre of Scotland team to discuss the 18th-century Ossian deception, dissecting cultural myths, and blending Scots storytelling with traditional Gaelic song.

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Would you mind giving us an insight into what your show/event/performance is?

Through the Shortbread Tin tells the story of James Macpherson, a writer from the 1700s whose tales and poetry of Ossian captured the imagination of Scotland and the wider world. I tell that story while interweaving a version of my own life story and the parallels between us. It’s written in Scots spoken word, with original songs in Gaelic. 

Tell us about the creative team and the process involved?

This show is produced by National Theatre of Scotland, which feels right given it is a big national and historical story. The singers are Mairi McGillivray, Iona Mairead and Josie Duncan, who are all established singers, and are singing new songs composed by Oliver Searle. The design team are Rachel O’Neill, Emma Bailey, Michaela Fee and Rob Willoughby who have all brought iconic images of the Highlands to our small stage. This show has gone on a long process – it’s been developed and supported by NTS for a few years, and the first iteration toured the country last year to critical and audience acclaim! .

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How does it feel coming to (back to) the Fringe?

I’ve been at the Fringe off and on for about twenty years now! Sometimes as performer, sometimes as director and sometimes as writer, so I feel I’m well used to it now.  

With shows from all over the world at the Fringe, what sets yours apart?

It’s Scottish! I think there’s something about staging this piece which is playful and provocative at the same time concerning our cultural identity and history –  it might look like other traditional Scottish shows on the surface, but I don’t think there’s anything like it at the Fringe this year.  

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On that, is there anything in the production or production team’s backgrounds which influences the way the show is performed or told?

There are many many many references to Scottish poetry, history and language embedded in the show.  

Is there anything specific you’re hoping the audience will take away?

We’re exploring a little known part of Scottish history so I’m hoping that the audience will leave knowing a bit more about that, and maybe question why they didn’t know this story in the first place.  

Your Ideal audience is in attendance, who’s watching? Or more importantly – who isn’t…?

Ideally people who are local to Edinburgh who are having a good theatre experience in their own city; Highlanders who might have an interest in how their area is regularly portrayed;  people form other countries who can maybe relate to the theme; and people who genuinely don’t know anything about Scottish History.

It’s an intense month, so where you’re able, how do you plan to relax, and are there any other shows you intend to see or want to recommend?

I’m planning on using my commute to read some books I haven’t got round to yet, so with many hours travelling ahead of me I am hoping to finally start Don Quixote – I reckon it’ll last me, it’s chunky. 

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Interested in being featured on our Have a Gander page? With many previews and Q&As lined up, we’re always happy to chat about including your show in future articles. Please do get in touch through the contact page to feature in an upcoming ‘Have A Gander’