FringeReview Scotland 2026
Stop Look Listen by Elliot Scott
Scottish Youth Theatre Trajectories
Genre: New Writing, Theatre, Youth Theatre
Venue: Oran Mor
Festival: FringeReview Scotland
Low Down
There is pandemonium on the road with sheep all over the place as our protagonist tells her tale in sections. Her introduction tells of her responsibility for safety on this part of the road. She also watches Mr Semple coming in and out of the school with his daughter. She takes the same route home every day, which happens to pass his house. One day, she finds herself inside, inadvertently seeing more than she was supposed to see including his daughter waking up in what is later claimed by her and by him to be night terrors. At the same time, she is unnerved by a man with what appears to be a music case, watching her.
Review
The second part of the trilogy of sections of new plays, as part of Scottish Youth Theatre’s Trajectories this plays to a very appreciative full house, the writer under the tutelage of Douglas Maxwell.
It is an interesting solo piece and one which I thought was performed brilliantly by Shelley Middler. There were a number of poised interactions between her subconscious and conscious as she began to reveal details of her life that were beautifully interjected including
wondering where she had left her hat: there was the right level of pathos. She was able to draw the man she clearly had an infatuation with whilst being consumed by the dodgy character observing her without irony.
But good performances begin with the script.
It may have been a snapshot, but it was one with slow revelations of the character and their circumstances. When the unfortunate fortunate opening of the front door happened, it felt like we were there, part of the mishap, not calling out to warn our protagonist but peeking from behind a curtain, thrilled to see what would befall her. That character development, of an awkward, probably shy, anxious young woman, filled with the capacity to give, love and warmly be part of your life was a palpable, but never pathetic, acutely observed piece of writing.
For this t be achieved within the context of a monologue without over dramatizing it – making up for a lack of bodies onstage – shows great skill.
Technically, as with the others, the crew did their jobs with skill.
All this needs is an audience, a spotlight and a stage. Oh and a finished script. Maxwell did promise that by the end of the afternoon we would be more optimistic about Scottish Theatre. By now I was feeling a glow of confidence develop.
