By Becca Cooper
Opening night of The High Life saw a full house at His Majesty’s Theatre, Aberdeen. Based on the 1994 BBC sitcom by the same name, written by and starring Alan Cumming and Forbes Masson, this theatrical adaptation is also co-written by and a credit to Johnny McKnight. Resurrecting their iconic characters, Sebastian Flight and Steve McCracken, the original cast return with some new additions to contend with the anticipated takeover of Air Scotia, ‘Scotland’s premier airline’, by Air GB. A co-production by the National Theatre of Scotland and Dundee Rep, The High Life has travelled across Scotland with exclusive stops in Dundee, Edinburgh, Aberdeen, Inverness and Glasgow.
Although many of the ‘90s references were beyond my limited years, they were definitely appreciated by audience members well-acquainted with the original show. Peppered with topical references, The High Life was both nostalgic and relevant, offering a satirical look at the modern British political landscape and pop culture, from the never-ending trauma of Brexit to the BAFTAs. The interaction between the audience and the actors was particularly impressive; by continually breaking the fourth wall with the prompt and polite courtesy characteristic of air hosts, Cumming and Masson guided the audience through both the important and absurdist elements of the show. This panto-esque performance even had several opportunities for audience participation, although it was obvious that the slightly stoic temperament of an Aberdonian audience was a tad reluctant to commit.
Moreover, the veneer of camp and slapstick comedy proved to be highly conducive to pertinent conversations about ageing and the role of nostalgia in national identity. The characters reflected on their own prospects from midlife and looked back upon the Scottish landscape of thirty years ago. With tongue-in-cheek, making light of the superficiality and stagnation of cultural signifiers such as ginger hair, Irn-Bru and tracksuits, the show concluded with a positive message of Scotland’s growing diversity. This message was delivered through some good old homoerotic nonsense in the finale, and by highlighting Alan Cumming’s own impact on contemporary pop culture with several references to his legendary performance as host of The Traitors US. There was not a dull moment in the show from the lively opening number; the show maintained the same fast-paced, high-energy, a testament to the chemistry and skill of the entire cast.
Having never heard of The High Life before this production, it acted as a perfect mediary to engage with Scottish media and art, both past and present, made in resistance to the homogeneity of Scottish culture and language – what is comedically termed in the show the ‘Machiavellian mission of de-Scottification’. The High Life is a flight through quintessential Scottish campiness, from the ‘90s into the present day.
Thank you to Aberdeen Performing Arts for this opportunity to experience this show.