Story, Script, and Lyrics: Alan Cumming, Forbes Masson, and Johnny McKnight
Music: Forbes Masson
Additional Music: Alan Cumming
Director: Andrew Panton
“Welcome aboard Air Scotia, where the sky is the limit and the hemlines are even higher.” While the original sitcom first took flight over thirty years ago, this riotous stage revival proves that some things really do get better with age. Co-written by the original creators alongside the hysterically funny Johnny McKnight, the production is a high-octane theatrical riot that leans into the best traditions of Scottish pantomime to evoke profound nostalgia while remaining sharply relevant.
The plot centres on the fictional, proudly Scottish airline Air Scotia as it faces a hostile takeover by the corporate “Air GB.” It is a battle for national identity played out at 30,000 feet. The moment Alan Cumming and Forbes Masson make their first entrances as flight attendants Sebastian Flight and Steve McCracken, the star power is palpable. Their onstage chemistry is flawless, built on decades of shared timing and a shorthand that feels entirely effortless.
Director Andrew Panton opts for a meta-theatrical staging that doesn’t just break the fourth wall; it demolishes it, addressing the audience with a wink and a nudge that lets us know we are all in on the joke. Much of the exposition is delivered directly to the audience for maximum comic effect, often acknowledging the mechanics of the play with “this will be useful in Act 2” asides. This self-referential style extends to the physical design; Colin Richmond’s set features an aeroplane without walls—a cheeky jab at the National Theatre of Scotland’s famous mantra—allowing the absurdist action to spill across the stage.
Cumming is in his element, peppered with references to his recent BAFTA hosting and his now-iconic turn on The Traitors. The supporting cast is equally formidable, with Siobhan Redmond and Louise McCarthy providing a masterclass in comic timing as they navigate the corporate chaos. While Redmond completely commands the space as Shona Spurtle, McCarthy brings a brilliant, sharp energy as the show’s unexpected antagonist. Meanwhile, Patrick Ryecart is “never knowingly underplayed,” embodying a geriatric agent of chaos.
The script uses its unapologetically Scottish wit as a weapon, lacing political commentary with surrealist absurdity. This is best captured in a sequence involving the “spit” of Margaret Thatcher shot from a bagpipe, a moment that perfectly encapsulates the show’s blend of biting satire and high-camp silliness.
Grant Anderson’s vibrant lighting design and a high-energy sound design keep the pace frantic, leading the audience through sing-alongs and interactive moments powered by the static of cheap man-made clothing. The High Life is a sublime, camp, and utterly joyous celebration. It is a masterclass in absurdism that proves, even after three decades, these characters are still flying high.
Runs until 11 April 2026 | Image: Tommy Ga-Ken Wan
