Writer-actor Alan Bissett’s When Billy met Alasdair imagines what happened when Alasdair Gray (1934-2019 ) and Billy Connolly (1942-) met in 1981 at a book launch of Lanark, Gray’s celebrated novel. At the start of this solo show, a photograph of these two Giants of contemporary Scotland flashes onto a screen. Gray is doing a book signing, while Connolly watches on. Nobody knows what the two men actually said, leaving Bissett plenty of scope to imagine what might have happened
Gray, an outstanding writer and artist, and Connolly, an actor, musician, artist and retired stand-up comedian, at first glance have little in common. Instead, by dramatising episodes from their lives during their childhood and adulthood until the moment they became the celebrity figures we all know, Alan Bissett shows this not to be the case. Both men had a very difficult childhood and had to work amazingly hard before they had their first break and recognition in their separate fields. Similarly, they both suffered from a sense of hopelessness and inadequacy, despite their outstanding talent.
When Billy Met Alasdair, with Alan Bissett, at the Scottish Storytelling Centre. Edinburgh Fringe Festival 2025. Photo credit: Alasdair Watson.
The small stage at the Scottish Storytelling Centre is empty, except for a chair, a table, with a glass and a bottle of whiskey, upstage right. Alan Bissett enters, quickly coming downstage to address the audience. Putting on thick glasses, he peers into the stalls. His shoulders are crouched, as if he really hasn’t the energy or wish to be there. The voice that we hear is that of the Glaswegian Gray who had an idiosyncratic way of clipping his vowels as he spoke. This introvert goes on to reveal his hang-ups, among which his problems with women, and relationships in general. Bissett quickly switches to Connolly, his body language changing as he moves energetically around the stage, doing an impression of the Big Yin (Connolly’s nickname, meaning the Big One), getting a laugh from his characteristic way of flicking a long mane of hair over his shoulder. Bissett keeps up this toing and froing between the two men, gradually going deeper into their inner lives.
There is a perhaps too long a lull in the action three-quarters of the way through the show, when the performer steps out of character and, pouring himself a glass of whiskey, talks about the play and his admiration for Grey and Connolly. Still when he steps back into character, the show resumes at a good pace.
On the whole, this talented actor and impressionist’s overriding enthusiasm for his subject proved contagious and the almost full house applauded warmly. Here is a Scottish story told with great flair and perfectly in keeping with the remit of this lively all-year-round venue, where it was performed.
This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.
This post was written by Margaret Rose.
The views expressed here belong to the author and do not necessarily reflect our views and opinions.
