There may only have been one series of the ’90s TV comedy show The High Life, set in the fictitious Scottish airline Air Scotia, but it nevertheless managed to achieve serious cult status. At the Edinburgh performance of the show’s musical revival from the National Theatre of Scotland, that enduring love and enthusiasm was palpable.
Three decades later, we find the original cast of Alan Cumming and Forbes Masson as hapless air stewards Sebastian Flight and Steve McCracken; Siobhan Redmond as heid bummer stewardess Shona Spurtle and Patrick Ryecart as Star trek channelling Captain Hilary Duff (all looking “exactly the same”). These characters are faced not only with their own mortality but with the prospect of Air Scotia being bought by a mystery man, Fran Fouter, who has shocking plans to ‘de-Scotify’ the brand. Oh dearie me! The prospect of losing their lifelong airborne employment springs the team in to action when rumours that this cunning character is to be flying so everyone gets set to put their best foot forward but of course comic chaos abounds instead.
Even before the start, the tongue in cheek tone is set with a curtain showing Scottish city times (all the same!) before the four original characters appear in turn to the delight of High Life fans via unique entrances to music laced with parts of the memorable original theme tune and we’re off! From the get-go, the fourth wall is smashed like a hole on the fuselage by Cumming and Masson as old catch phrases alongside up to date jargon fly around at speed.
As the set, from designer Colin Richmond, who must be responsible for the striking Hopperesque backdrop in Act 2, shifts to the very aeroplane, chaos is king. No spoilers, but after seeing this show, neither Lower Largo nor the acronym MAGA will ever be the same again. The fine ensemble cast who take on multiple energetic roles and a live 5-piece band dressed as stewards add to the proceedings, but special mention has to go to Louise McCarthy as Heather Argyll. She is a comic physical actor of the first order who, with Masson, portrays an achingly funny simulated sex scene.
The script and lyrics by Cumming, Masson and the added signature style of Johnny McKnight are a linguistic delight, brilliantly achieving their aim of celebrating Scottish comedy. They are respectful of theatrical tradition while simultaneously breaking the mould, in other words – gallus, surreal, radical, political, fearless but most of all, funny as old pals meet new friends and possibilities.
There may have been multiple mentions of man-made fabrics woven across the show but there is nothing synthetic about it. This is dyed in the wool Scottish humour at its best – fearless, subversive, radical yet remaining gloriously daft and reminding us to live in “Och aye, the nou!” Get on board if you can!
World premiere Opening performance took place at Dundee Rep Theatre 2nd April 2026 after which there is a run at Festival Theatre, Edinburgh; His Majesty’s Theatre, Aberdeen; Eden Court, Inverness before returning to Dundee Rep Theatre and King’s Theatre, Glasgow before the tour ends on Saturday 23rd May 2026.
Irene Brown
Radio Summerhall Arts 