Death on the Clyde
★★★★☆ Fully-fledged
The Royal Scots Club (Venue 241a): Mon 4 Aug – Sun 10 Aug
Review by Flora Henderson
Death on the Clyde, playing The Speakeasy at The Royal Scots Club for Week One of the Fringe, involves a mix of song, dance, and storytelling to create a well-polished interpretation of Scottish folklore.
Scotch Bonnet Productions’ first show as a company is not your typical whodunnit, instead exploring the sinister tale of the Bean Nighe, or Washerwoman, as a whydunnit. Set in a Scottish village where there is only one female resident, Heather Linn and Ewan Jardine’s play invites reflection on themes of religion, guilt, and the power of belief.
Innis Thorborn, Ewan Jardine, Alex Stewart, Peter Morrison, Eilidh Barn and David Clarkson. Pic: SBP.
The Speakeasy has the audience space is set up with several round tables adorned with candles. This adds to the intimate atmosphere and includes the audience in the world of the play, rather than being simple onlookers.
After a short, tense opening scene, a burst of live music transports the story to the village’s Samhain (Hallowe’en) celebrations. Innis Thorborn (Fergus) on the guitar, and Alex Stewart (Angus) on the cajon accompany the other performers in a lively folk song. Combined with Eilidh Barn (Freya), Ewan Jardine (Alistair), and David Clarkson (Dougal), the villagers have a strong rapport.
This is intentionally broken by the arrival of Peter Morrison as Murdo, who brings a sinister feel to the gathering as he recounts the tale of the Washerwoman. Already an outsider due to his position as the village Reverend, the tension begins to build, continuing to climb as the story progresses.
gliding seamlessly
Death on the Clyde is well directed by Heather Linn, the actors gliding seamlessly from scene to scene. The choices made in terms of costume (Davison Kilt Hire), tech (Mairi Macleod and Ewan Little), and Thorborn’s music all work together to ensure the setting is established and maintained aptly.
Despite the strong emotions and high stakes, the actors refrain from the melodrama which can be associated with murder mysteries. Stewart manages this particularly well as Angus deals with the aftermath of witnessing a terrible event, his anguish contrasting with the anger displayed by Fergus and Alistair.
On the bridge with the Scotch Bonnets
The residents’ different responses to the village’s tragedies, and the beliefs which inform these, add a layer of investigation into Scotland’s historically tumultuous relationship with religion. Paired with the exploration of family relationships, this deepens the play’s thematic complexity.
The only thing that is not entirely clear is what the story is attempting to be. While the deviation from the typical murder mystery tropes is intriguing, it leads to a slight lack of dramaturgical cohesion. The play’s ending has notes of a moral fable, which is slightly at odds with the dramatic and mysterious tension present throughout.
However, this does not take away from the strong performances with consistent, nuanced characterisation. Paired with the fully-fledged setting, this results in a piece which is mature, thought-provoking, and executed with finesse.
Running time: 45 minutes (no interval).
The Royal Scots Club (The Speakeasy), 29-31 Abercromby Place EH3 6QE (Venue 241a).
Mon 4 – Sun 10 August 2025.
Daily: 4.15pm.
Tickets and details: Book here on EdFringe.com.
Facebook: @scotchbonnetproductions
Instagram: @scotchbonnetproductions
ENDS
