Oor Wullie The Musical – King’s Theatre, Edinburgh

Book & Lyrics: Scott Gilmour

Music: Claire McKenzie

Director: Andrew Panton

Being blunt, the concept of drawing on an eighty-year-old comic script – rife with slang, Dundonian heritage and is as quintessentially Scottish as Irn Bru chews and Haggis Pakora could leave a potential unpleasant taste in the mouth if done tacky. Capitalising on nostalgia is by no means a new fad, and Oor Wullie, aye that annual yer granny gets you which you never bothered to pick-up has been delighting kids, and big ones across Scotland for decades. It would also seem, that with the rit knack, embracement and know-how,Oor Wullieis a fandabidozi musical.

Coherently nostalgic, yet modern, Claire McKenzie and Scott Gilmour craft a sentimental production which captures a thick vein of Scottish humour while pumping it full of enthusiastic energy, maintaining the comic’s origins, and ensuring a modern spirit of inclusion. Frankly, the coming months will be a trying period for us all, particularly those who may not ‘look’ Scottish enough, thankfully we can look to the past to hopefully lead our future.

Young Scot Wahid, whose parents originate from Pakistan, starts a new school in a country where he has always called home, even if fellow students seem confused about his origins. Finding solace in the library, under the watchful eye of the librarian Dudley, a touching reference to original animator Dudley D. Watkins, Oor Wullie lands himself in trouble again, emerging from the very annual Wahid finds solace in. No longer in Auchenshuggle, Wullie and the gang must adapt to this peculiar world. Through Kenneth Macleod’s vivid designs, directly out of the Sunday Post, emphasising the comic roots for the characters with layers upon layers of colour, effects and one very special Wullie Wagon.

Lifting the skirt of risqué, Oor Wullie capitalises on the countries passionate thirst for double entendres, in-jokes and having a belter of a time. None of the jokes feels harsh or targeted, levelling off as safe for the whole family. The entire cast achieves a brilliant sense of comic timing, particularly Dan Buckley’s Bob and Ann Louise Ross as the charmingly befuddled PC Murdoch. The cheeky chappy himself Martin Quidd tackles the role of Wullie, exaggerating to accentuate the comic-strip background. His chemistry with the entire gang is tangible, but with a touching reflection found in Eklovey Kashyap’s Walid offers a real sentimentality amidst the frolic and fun.

Course, it wouldnae be right to celebrate eighty years of Scotland’s favourite son without a little music, now would it? McKenzie’s musical composition carries Gilmour’s lyrics well, capturing the overall tone of the production. Though a mixed lot vocally, there’s a communal sense to the vocals rather than a polished feel, almost folky. Standout numbers offer a fleshed-out role for Leanne Tarynor’s brilliantly portrayed Basher Mackenzie, and what may at first raises eyebrows as the gang don saris, is a meticulously well-structured number, with taste, humour and delightful choreography courtesy of Chi-San Howard.

All across Scotland Oor Wullie could be found perched upon his pale from the cobbles of Edinburgh to the high streets of Dunfermline and was an expression of the astonishing artistic talents of over two-hundred designs. Now, here is the chance to meet the lad face-to-face, leaping from his two-dimensional form, with a breath of life befitting his cheeky demeanour.

Runs until February 1^st then tours | Image:Tommy Ga-Ken Wan