The expression ‘Athens of the North’, the title of the play in the present review, conjures up an Edinburgh in the Enlightenment period, a time when classical culture was much valued, 18th century classical architecture was hugely popular, and Scots put their country on the map for their culture, philosophy and scientific achievements. Mark Hannah’s solo play, Athens of the North, mischievously winks at this image of the city and its inhabitants, while offering a very different picture of Scotland’s capital, from the point of view of working-class people at the bottom of the ladder. During the 2024 Fringe the play opened at the Hibernian Supporters Club, and for 2025 it is programmed at the Netherbrow theatre in The Scottish Storytelling Centre on the High Street. This author-performer kicks off by reciting a lyrical poem in standard English about how Edinburgh, its landscape and soundscape forge an individual’s identity, only to launch immediately after into a three-part solo show, the flow of which is interrupted from time to time by a radio broadcaster giving us news about everyday events in the capital. Delivered in the Scots spoken by working-class people from Edinburgh, Hannah takes his audience on a journey, visiting a raft of real places, inhabited by local people, real or imaginary, it’s hard to tell.
Athens of the North, Edinburgh Fringe Festival 2025
As Edinburgh playwright Keiran Hurley notes in the introduction to the published play, Athens of the North “sits in the Scottish tradition of finding beauty in the quiet humanity of ordinary working class lives”. Hannah kicks off with the first monologue, “The Angel of St Giles”, a conversation between Alan Merton, a forty-four-year-old van driver from Gilmerton, a suburb in the south-east of Edinburgh, his colleague Davie and Brian, the foreman at the mattress warehouse where Alan works. The topography of the piece is very precise, indicating that the story unfolds in the Shezan Indian restaurant on Union Place as the two men order an Indian meal. Alan’s many complaints about his foreman who tries to make him feel he is part of a team so he can get him to work harder, his estranged wife trying to get money off him for their daughter’s upkeep, his daughter, Erin, tormenting him by practising her violin at all hours of the day and night, build a picture of a man who is finding it hard to cope and is unable to change his situation or the system he is part of. Hannah introduces moments of rising tension and an anti-climax, as Alan relives a crazy drive in his van to St Giles Cathedral in the heart of the city to see Erin performing in a concert. His frustration mounts as he encounters and curses heavy traffic, crowds of tourists and protest marchers. He arrives at the very moment a tearful Erin is already leaving the church. Still his anger and frustration are appeased by the gesture of a total stranger, who is part of the protest march. Alan describes the man as follows, “He looks like a wizard or suhin … white hair and beard wae these proper blue eyes eh …like Kenny but as if he hudnae hud the pause button pushed on him … jist so peaceful as if he’s meditating or suhin.” Later the stranger gives Erin a tissue to dry her eyes, and she smiles. This simple act of kindness, a kind of epiphany, makes Alan re-evaluate the situation and he grows calm. Here the universal emerges from the local, through this simple gesture of kindness and empathy, reflecting human solidarity. The theatre was almost full the afternoon I saw the show, which was very warmly received. After the performance, there was a queue to buy a copy of the script, signalling people’s interest in learning more about a play which places working-class life in Edinburgh centre stage. In a city, characterised by overtourism, which reaches a peak during the Fringe in August, Athens of the North turns our attention to those ordinary folk from Edinburgh who generally don’t attend the Fringe, but suffer many of the negative consequences like high rents, heavy traffic and overcrowding. This is an important, first play performed with passion and striking authenticity by its author.
Directed by Fraser Scott, movement support by Jack Webb.
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.
