In the Cold Light
★★☆☆☆ Strong potential
theSpace @ Surgeons’ Hall (Venue 53): Fri 7 – Sat 29 Aug 2026
Review by Erin Frances Speirs
In the Cold Light, a new play from Scottish writer, director and actor George Grant, is a somber reflection of unresolved grief, masculine friendship, and what is left unsaid.
Journalist Michael (George Grant) becomes obsessed with investigating the lives of two unlikely and unmarried friends – English engineer Arthur Johnson and Scottish, mountaineering sheep herder Andrew MacLeod. He will stop at nothing to prove that these men, who almost a century ago chose to be buried next to one another, were secretly in love. Michael quickly unravels, his grief and regrets surrounding his own deceased friend Danny unable to stay contained. Leading to the question: must he learn the truth of Arthur and Andrew, or of himself and Danny?
George Grant. Pic Louis Catliff.
The strong script from Grant contains devastating and thought-provoking ideas, but is not supported by the performances of the two leads. Grant’s performance as Michael becomes clearer throughout, however there are moments that do not feel lived in, with excessive drama in moments where it is undeserved.
Pam (Claire Harbin), Michael’s superior at the newspaper he works for, is a strong-willed and straight-talking woman whose dialogue would suggest she genuinely cares about Michael’s wellbeing. Harbin’s stage presence is commanding, but sticks to monotonous anger and annoyance at Michael.
The conflict between the pair seems unjustified, leading to questions that are needless within the themes of the play. With little chemistry between Grant and Harbin, and general discomfort on stage, this issue seems to lie in the direction of the production – also provided by Grant – rather than the skills of the actors themselves.
middling
Projections are used throughout to middling effect. A painful tone is set with images of Michael and Danny. As Michael rambles off his discoveries about Arthur and Andrew to Pam, the images change to maps and photos of the pair. The projections distance the audience and would be better suited with descriptions. As Michael’s grief overcomes him, the consistently repeated photographs of Arthur and Andrew glitch into those of Michael and Danny. A compelling visual in theory, but the execution is heavy handed.
George Grant and James Ross Turner. Pic Louis Catliff.
The use of multi-media is continued with video calls from relatives, researchers, and locals of Mull who had connections to the historical pair. The recorded performances given from James Ross Turner, Illona Linthwaite, and Graham Kellas are impressive. Linthwaite’s portrayal of Ruth in particular – Arthur’s grandniece – is packed full of weight and charm as she expresses some beautiful sentiments on grief and mourning.
However, the continued use of these calls runs tired after sixty minutes of performance. Grant often stands up, not looking at his laptop screen when interacting, a directorial choice that furthers the confusion of the production, which feels unsure of its own level of realism.
talented
Grant is clearly a talented writer – the script is filled with meaningful ideas around grief – and he has moments of brilliance on stage. However, the direction of the production halts the script from shining.
Exploring the state of male friendship, vulnerability, and the things we leave unsaid, In the Cold Light has the potential to be a heartbreakingly beautiful production if given more dramaturgical development.
Running time: One hour (no interval).
theSpace @ Surgeons’ Hall (Stephenson Theatre), Royal College of Surgeons, Nicolson St EH8 9DH (Venue 53).
Friday 7 – Saturday 29 August 2026.
Mon – Sat: 5.35pm.
Tickets and details: Book here at EdFringe.com.
Tickets direct from venue: Book here.
George Grant’s website: itsgeorgegrant.com
Instagram: @itsgeorgegrant
TikTok: @itsgeorgegrant
Linktree: @itsgeorgegrant.
George Grant, Claire Harbin. Pic Louis Catliff
ENDS
