Rehanna Macdonald is desperate to find out who she is, discover her identity and her heritage. But all she can hear is the voice of Idi Amin laughing at her from beyond the grave. Her parents fled Uganda to escape one of history’s most notorious dictators and settled in Dundee – it was the only place with no waiting list for relocation once they made it to the UK. MacDonald has grown up with a tough skin and a broad accent, full of pace and power as she opens The Last Queen of Scotland by running away from a fight in a nightclub. But she can’t shake the feeling that her tormentor is constantly at her back in Jaimini Jethwa’s punchy script of longing to belong.
Thomas Magill (Thomas Campbell) lives with his Mammy (Deborah Galanos) in what appears to be a hoarder’s abode. Kate Gaul’s design throws old cassette tapes and clutter everywhere, with the general smell of dank mustiness in the air. There’s a surrealist vibe to it all – unsurprising given the nature of Enda Walsh’s script. Nate Edmondson’s compositions waft across the stage, initially all playing over each other to mimic the disorganised clutter around. Misterman contains many such devices, clever depictions of the jumbled state of Magill’s mind as he goes about his potentially real, potentially fictional day.