Review: Through the Shortbread Tin at Glasgow Cathedral | National Theatre of Scotland

Lisa in the theatre

2 days ago

3 min read

Martin O’Connor’s critically-acclaimed Through the Shortbread Tin explores Scottish culture, myths, history and identity. Performed in Scots with Gaelic songs, it's on tour to some stunning historic venues across Scotland this September. Read my review from Glasgow Cathedral here.

Through the Shortbread Tin ★★★★☆

Review: Glasgow Cathedral | 4 September 2026

Following a critically acclaimed theatre tour in 2025 and a month at the Edinburgh Festival Fringe in 2026, Martin O'Connor's poetic history lesson / Scottish culture case-study, Through the Shortbread Tin embarks on a tour of some of Scotland's most stunning historical locations in 2026. Produced by the National Theatre of Scotland in partnership with Historic Environment Scotland, the tour visits Glasgow Cathedral, Stirling Castle and Urquhart Castle, placing the playful exploration of Scottish identity within iconic landmark locations.

Performed in Scots, Through the Shortbread Tin is delivered in rapid, spoken-word by the magnetic writer/performer Martin O'Connor, whose beautiful rhythmic dialogue is almost musical itself. His "What's the point" speech is reminiscent of Trainspotting's "Choose Life" with the same fast-paced, impossibly eloquent, insightful, comedic prose.

Although O'Connor sets out to explore Scottish history and culture through a look at "the greatest literary hoax of all time" - the claim that eighteenth-century Scottish poet James Macpherson's stories of third-century Ossian were, if not fabricated, at least embellished - it's his personal stories of growing up in Pollock with a Gaelic-speaking granda that he found it impossible to connect with, that really tie the narrative together.

In a beautifully crafted piece of storytelling, O'Connor's stories of Macpherson's work are interlaced with deep dives into Scottish stereotypes, quotes from Ossian's epic, a touch of personal introspection, and live music.

The music comes from the gorgeous acapella voices of three Gaelic singers - Josie Duncan, Iona Mairead and Mairi McGillivray - whose songs add variation to the evening and beautifully complement O'Connor's writing. Their harmonies are exquisite; their voices soaring in the grand interior of the historic Glasgow Cathedral. It's as if the show was made to be performed here.

Joanna Bowman directs the foursome in the tight, unconventional space with minimal but effective movement and a constant focus on engaging the audience. Backed by Emma Bailey's stark but beautifully lit stage, the focus of the set quickly moves from the ironic cardboard stag to subtle projections (Rob Willoughby) of Scottish scenery and ever-changing seasons that never overpower the performers.

I frequently found myself looking up at the vaulted ceiling and out through the cathedral's stained glass windows as the sun set over Glasgow and the lighting in the room changed with the seasons on the video screens. What a uniquely dramatic theatrical experience!

Staging Through the Shortbread Tin in historic locations across Scotland is a fabulous idea, but the nature of the sites means that, if Glasgow Cathedral is any indication, the audience may be made up of not just locals, but of many non-English-speaking tourists too. We Scots are notoriously quick speakers, and I was often conscious of just how fast the Scots language was being delivered here. The show is rich with amazing historical facts and cheeky quips, but it often felt as if there was a rush to reach the end. Slowing the pace just a little would help audience absorption immensely.

Through the Shortbread Tin may be the most Scottish theatre production I've ever seen. But thankfully, it's a tastefully done, tongue-in-cheek, intelligent piece of storytelling that highlights not the tartan-tastic stereotypes of Scotland but uses our culture and myths to ask if it's ever OK to fabricate the truth. ★★★★☆

Head to my Instagram to see photos and videos from the evening at Glasgow Cathedral.