“We’ll tak a cup o’ kindness yet, For auld lang syne.”
With Burns Night right around the corner, the National Trust for Scotland brings this theatrical treat to the Georgian House in Edinburgh. Created by James Clements, who stars as Robert Burns himself, the show is accompanied by Lisa Rigby’s beautiful music inspired by Burns and directed by award-winning director Cora Bissett. Following its sold-out run at the Fringe in 2025, this production is the perfect way to get into the spirit of Burns Night.
Upon arrival at the Georgian House, we are welcomed by front-of-house staff member Robbie and given the opportunity to examine a 200-year-old book by Burns before entering the performance space. We then meet producer Tuesday McPhail, who explains the seating arrangements, which gradually become clear over the course of the one-hour show. The audience is gathered around a long, curving dining-room table, used creatively to drive the narrative forward. There are moments of audience interaction throughout, while Rigby sits in the corner of the room, accompanying the action with lively tunes that help set the tone for the evening.
The partnership between Clements and Rigby is a real strength of the production. They complement each other beautifully, bringing a sense of energy and cohesion to the performance. The show feels at times like a Robert Burns version of Six the Musical, exploring his past lovers and children from Burns’ own point of view. The dining-room table becomes a character in itself, its lights illuminating the folds and creases of the tablecloth, with clever use of table settings to support the storytelling and visual imagery. At moments, it feels almost cinematic, as though stepping into a Disney film.
Rigby’s soundtrack feels authentic and sensitively composed, setting the mood throughout, while Clements’ portrayal of Burns captures a wide emotional range as the poet moves through different stages of his life. From beginning to end, it is clear how much thought, care and passion have gone into this project, along with a deep love for Burns’ story and Scottish history more broadly. The performance also incorporates recorded voices, drawn either from Burns’ past or from discoveries made during the research process. These recordings add texture and commentary, offering insight into how Burns was perceived and introducing additional voices that enrich the narrative.
There is some gentle audience participation throughout, mostly involving Clements playfully selecting female audience members to represent Burns’ various love interests. This occasionally prompts amused looks of caution from their partners. For me, the show felt akin to an immersive experience you might find at the dungeons, but stripped back of darkness and fear. Instead, it offers theatre and history combined, retelling the story of a historical figure in a way that excites, entertains and captivates. With only a limited number of performances remaining and a waitlist filling up ahead of Burns Night on Sunday 25 January, this is one to catch if you are in Edinburgh and fancy an engaging piece of historical entertainment centred on Scotland’s most famous poet.
