Nan Shepherd: Naked and Unashamed – Pitlochry Festival Theatre

Featuring in Pitlochry Festival Theatre’s Summer lineup, Nan Shepherd: Naked and Unashamed has been produced by Firebrand Theatre Company and Pitlochry Festival Theatre for a second time following the success of the play’s first run in 2024. 

The biographical play explores the life of famous female Scottish writer Nan Shepherd, the first woman to be printed on a Royal Bank of Scotland banknote.  This play paints a ghostly portrait of Nan’s mental deterioration throughout time, while simultaneously highlighting the headstrong, vibrant and vigorous way in which she carried herself through life.  Although we see glimpses of nan’s childhood, as well as her time in a nursing home, the brunt of the story is told when an American reporter comes to interview her about her close friend and fellow author Neil Gunn.  During this interview we uncover Nan’s unrequited love affair, her time as a teacher, as well as the discreditation she faced in her career being both a woman and Scottish. 

Featuring traditional Scots ballads, a waulking song, and a myriad of poetry from Scottish writers which the audience were asked to read aloud, this play is a celebration of heritage both generationally and personally.  Nan encourages us to feel so as to know and what with the use of Nan’s local dialect doric being used intermittently this sentiment holds true – with Americans and Englishmen alike in the audience they may not have understood every word of Nan’s thick Aberdonian accent, but they certainly felt it. 

Director Richard Baron has managed to beautifully curate a strong, heartfelt production that not only preserves the life of Nan, but also preserves something much bigger than that.  Nan’s memories act adjacently to a national memory – the dismissal and erasure of a nation is condensed to a digestible level through the experiences of one woman.  Susan Coyle’s performance as Nan is thrilling to watch, delivered with vigour and tact with Coyle masterfully transitioning from child to old woman seamlessly.  Coyle’s physicality and vocal adaptation clearly depict each stage of Nan’s life while staying true to the heart of the character – showcasing Nan’s wit and passion but adding new nuance and subtleties to the character as Nan ages.  Coyle’s energy is matched by Adam Buksh’s performance, in which he plays six different characters, each completely differentiable to one another – we feel for some yet loathe others – Buksh’s range of accents and delivery of speech is wondrous to observe.  As a duo this pair is unstoppable. 

Peter Fennel’s lighting design and Jon Beales’ sound design is delivered with such precision and cohesion it almost goes unnoticed – the mark of true skill.  Both elements of design contribute hugely to the haunting nature of the piece but in such a delicate way that it melds and weaves its way into the bones of the show. 

This showcase of Scottish heritage roots itself into the hearts of the audience, with a collective sing-along, and the audience participation in reading poetry aloud, there is something so connective in the sharing of culture.  Nan Shepherd is depicted in this play as a pillar of the celebration of Scotland, Coyle’s passionate performance moves us to feel just as passionate about Scottish art.  Especially in its appraisal of the Doric language – Nan feels Doric is able to articulate expression and emotion with much more power than traditional English, however writers, reporters, and critics show her disdain for this idea.  This play is living proof of the soul and indescribable patriotism and pride that Scottish art holds within itself and shares with its consumers. I’m sure Nan would approve.

Playing until 14th June, www.pitlochryfestivaltheatre.com

Reviewer: Jessie Martin

Reviewed: 4th June 2025

North West End UK Rating: