The National Theatre of Scotland’s new expressionistic production of ‘The Prime of Miss Jean Brodie’ is a magnificent theatrical gem.
Since the 1960s, theatre audiences have enjoyed the Jay Presson Allen adaptation of Muriel Spark’s iconic novel. That features an eccentric but lovable teacher in 1930s Edinburgh, and her influence on the young girls in her care. Vanessa Redgrave played Brodie in the 1966 West End production but turned down the part for the 1969 film version, allowing Maggie Smith to step in and claim her first Oscar.
David Harrower is only the second writer to be allowed to adapt the novel, receiving permission from Muriel Spark herself shortly before her death in 2006. Harrower’s adaptation, which premiered at London’s Donmar Warehouse in 2018, and has been revised for this production, retains the spirit of the novel, but brilliantly makes it a play for our times too.
Most of us remember one or more teachers that inspired us. But can being a mentor become sinister when young minds are manipulated by a charismatic teacher? W.H Auden, a former teacher himself, wrote of teaching:
“It’s pleasant as it’s easy to secure
The hero worship of the immature”.
Or, as Jean Brodie put it: “Give me a girl at an impressionable age, and she is mine for life”.
Harrower’s version of Brodie is directed by Vicky Featherstone with panache, warmth and sensitivity. Featherstone is a very experienced and talented director who brings the best out of her actors and creative team.
This is not always an easy watch. Though there are plenty of laughs, it also has profoundly sad moments. And it has a very dark side, too.
This is set in 1933 when fascism was on the rise. And in 2026 we see a resurgent hard right once more in many Western democracies. In the play a teenage girl, influenced by her teacher, goes to Spain to fight for Franco and is killed. In 2026 we refer to radicalisation. In the play a male teacher has a sexual relationship with a teenage pupil. In 2026 we call that out as child abuse.
This show depends on a strong central performance. And Gayle Rankin does not disappoint as Brodie, giving a commanding and suitably charismatic performance as a deeply complex woman – exulting in the power she holds not only over ‘her’ girls but the men in her life. She’s outrageous and provocative – but also deeply insecure. Rankin shows great versatility, and her performance is thrilling, enigmatic, moving, and thought-provoking. She has great stage presence.
Liberty Black as Mary MacGregor, Sophie Fortune (Joyce Emily), Tallulah Greive (Monica), Shreya Khaund Marshall (Jenny) and Bobby Rainsbury (Sandy) play the Brodie ‘set’, the ‘crème de la crème’ as their teacher calls them. These young actors, all in their early 20s and some of whom are making their professional stage debuts, are immensely talented. They have the challenging task of portraying 11-year-olds in Act 1 and 15-year-olds in Act 2. But they are totally convincing. It’s good to see such gifted young actors who will hopefully be gracing our stages and screens for many years to come.
Maureen Beattie is superb as Brodie’s nemesis, Miss Mackay, the formidable headmistress of the Marcia Blane School for Girls. Beattie captures the essence of this traditional teacher, baffled by the irreverent Brodie.
Dyfan Dwyfor excels as the dashing Teddy Lloyd, the art teacher and one of Brodie’s lovers. A Catholic and father of eight, Dwyfor shows us the sardonic wit and dangerous proclivities of a man obsessed by Brodie but prepared to use at least one of her girls as a substitute.
Brian Ferguson captures the essence of the lovelorn Gordon Lowther, the music teacher whose repeated proposals to Brodie are turned down. Without overplaying it, he gets a lot of laughs. But he also shows us the frustrations caused by his unrequited love, and his shame when his affair with Brodie becomes the subject of gossip, and he feels compelled to tender his resignation as an elder of his beloved Church of Scotland.
The production values are of the highest order. Director Vicky Featherstone leads an outstandingly talented creative team which help to make this show a theatrical feast for all the senses.
Chloe Lamford has designed an intriguing set. Several rows of raked benches face the audience. It is reminiscent of a Roman amphitheatre. (At one point a Romanesque statue is placed there.) This highlights Brodie’s love of Italy. The set allows actors, particularly Rankin as Brodie, to dominate proceedings from the top row or be more vulnerable or confidential in lower rows. And it creates the impression that we the audience are also being viewed by another audience, the actors. How are we reacting to what they are portraying. What are our moral values?
Charlotte Mclean is the Movement Director, and her beautifully choreographed dance and movement sequences are a delight.
Pippa Murphy has designed the sound and composed opulent, resonant, atmospheric and often cinematic music of the highest calibre.
Anna Orton’s costume designs are outstanding. Naturalistic for the men and Miss Mackay, but anything but for Brodie whose costumes are flamboyant, provocative and sometimes almost Gagaesque. The girls’ flowing school uniforms include a semitransparent tunic in the second Act when they are 15. Is this how Teddy Lloyd imagines them?
Lewis Den Hertog has designed videos which provide an intriguing, often beautiful, backdrop including classical Italian paintings. Lizzie Powell’s lighting is exquisite, effectively creating different scenes and mood changes. And I liked the thirties style mobile chandelier and its changing lights.
This is a long show of just over three hours including the interval. The first act alone is 95 minutes long. But the time just flies by. It’s a sumptuous production, full of theatrical magic. Simply wonderful.
‘The Prime of Miss Jean Brodie’ runs until 18th October. Most performances are sold out, but a few tickets available at https://lyceum.org.uk/events/the-prime-of-miss-jean-brodie#dates-and-times The production is also touring to Glasgow, Aberdeen and Pitlochry until November 7th.
Reviewer: Tom Scott
Reviewed: 9th October 2026
North West End UK Rating: