FringeReview Scotland 2026
Doon Hill – An Inaccurate Retelling by Poppy Hope Smith
Scottish Youth Theatre Trajectories
Genre: New Writing, Theatre, Youth Theatre
Venue: Oran Mor
Festival: FringeReview Scotland
Low Down
It is spring 1660 and Moira Kirk is about to give birth to her first child, that of her and her husband Rab Kirk. Meanwhile, Rab, the expectant faither, is in the pub listening to his friend Willie regale him of tales of how he has seen the fairies up Doonhill. Rab goes with Willie to see what he has seen, rather than take up his duties as a new father.
Review
Under the tutelage of Girvan’s very own Douglas Maxwell, this was the first of three performances of a snapshot of plays being written by emergent playwrights. All presented scrievers are young and Scottish, and given the platform to have somebody of Maxwell’s undoubted ability, to guide them as they take a further step to write for the professional stage.
It is an opportunity, not just for us to see something at the very beginning of its development, but also to give playwrights an opportunity to flourish under the watchful eye and careful direction of
Maxwell himself.
I was immediately struck by the fact that this was not a misery memoir or a piece of angst-ridden poetic fury from a young pen, or keyboard, but a take on the traditions of oral storytelling within the confines of a theatrical production. It immediately spoke of assuredness and confidence: it continued to deliver.
Beginning the tale in a rather unique way, with a pregnant woman, about to give birth, whilst her husband was absent was inspired. It managed to bring humour on stage but also allowed us to comprehend the entire
setup. It introduced before he arrived the feckless nature of a father and husband and when we discovered him in, not in the Kirk but in the other place of worship – the local pub, it was an affirmation of the setup, given in few short words. It also set up the tone and tempo of the humour which worked very smoothly.
Whilst the marriage of new mother and minister of the parish may have rocky foundations, the premise of fairies being first seen by Wullie and then confirmed by Rab, the minister, determined tae tell the hale world, gave us the gender politics of a man convinced he is right, even when the facts may be fantastical. Oblivious to the possibilities of ridicule, the practical mother can see what may befall them. The shorthand into the problems of gender politics, in 17th century Scotland, need not a John Knox to appear to make them prescient. In terms of gender politics understanding just exactly how difficult it is for women, to emerge from under the shadows of the incompetence of their spouses.
Combined with performances from actors (Kieran Devine, Jamie Casey McNeil and Sam Baird) who are themselves at their early stage of
development, all gave an impressive account of themselves, though stumbles over the poetry used was the only moment of nervousness form us in the crowd.
It was a sold-out crowd, an appreciative one and it was good to see so many people in, not just to see Scottish Youth Theatre but also emerging playwrights.
It’s also unfair to criticise any of the technical support that was given, given the nature of the production itself. However, the crew did a fantastic job in giving us exactly what was needed.
It was a very good beginning to the hour or so of drama to which we were being treated.
