It’s always wonderful to see something take-off from routes at the fringe. This understated, truthful piece will pull at your heartstrings and leave you both contented and emotionally drained.

On paper, we follow the story of Lana & Jessie, who meet on a night out in Dundee and their relationship that forms after they conceive a young boy. In actuality, we see a struggle of romance, depression, work and connection, expertly interwoven with Kyle Falconer’s songs and music. The two actors are impeccable in their roles. Anna Russell-Martin as Lana displays a vulnerability and humour that you can’t help but route for and will leave you smiling or with bleary eyes as and when the piece dictates. Similarly, John McLarnon delivers a truthfully oblivious and then hurt Jessie. Both actors switch seamlessly from the text to song without it feeling forced or strained.

Although the songs are integral to the piece, showcasing our characters emotional states and journeys this is by no means a musical, nor for that matter is this a play with music. It is something else entirely. A gig that carries us through the couples’ highs and lows. The spartan set (Styled by Leila Kalba) aids the piece in its gig-like sense of locations. And the locations, just like tangible emotional connection feel ephemeral and hard to reach. The lighting design from Grant Anderson is kinetic and seems to spring up with the piece rather than be an external factor. In fact no facet of this show could exist on its own. They are all woven together to create a complete package where it’s almost indistinguishable to draw a line between each element.

A mention has to be made for Gavin Whitworth, the onstage musician, who almost single-handedly provides the perfect underscoring and accompaniments to this riveting piece of theatre. Andrew Panton and Tashi Gore’s direction allow him to not just be a musician on the periphery but feel part of the drama itself without interrupting our main characters arcs.

If I were to make a criticism, occasionally diction in the songs can make certain words hard to hear which can be frustrating but this is a minor comment as during the spoken sections both actors are clear, precise and flawless even in the Scottish brogues. Do not expect to leave feeling joyous, and humming songs, but do expect to leave feeling moved and privileged at having witnessed what feels like an intensively private and personal journey. Those who are affected by trigger warnings should probably check online beforehand.

The piece is a real treat and not to be missed. Because of its style I think it could struggle in
any venue larger than the lovely new theatre at Southwark Playhouse Elephant (although the seating
from a side view is very uncomfortable) and so book a seat now. The run is until 15 June.

⭐️⭐️⭐️⭐️⭐️