‘Nae Expectations’ is a Glaswegian sensation which turns a challenging classic piece of literature into a humorous and accessible performance. Produced by the Tron Theatre Company the artistic director Andy Arnold works again with Gary McNair to deliver this irreverent and dynamic adaptation to Scottish audiences.
Pip is just your average wee guy – happy with his lot and not much of a complainer (though you really wouldn’t blame him if he was!). Regularly tortured and terrified, in what is, it must be said, a truly hard life, he still finds time to laugh, smile and dream of a brighter future, even though no-one expects anything of him. Or so he thinks…‘Nae Expectations’ is Gary McNair’s fresh look at the Dickens classic, with a Glasgow tongue and a gallus spirit. Young Pip battles with monstrous adults, the class system and most of all his inner demons as he tries to work out who he is, what he wants to be and how to find his own way in the world.
Simon Donaldson as Joe Gargery/Kelvin Pocket blew audiences away with his astonishingly opposing characters. Donaldson was a wonder, his creative decisions distinguished both characters well. Donaldson’s physicality brought humour as Kelvin Pocket and his rather extravagant nature whereas his portrayal of Joe Gargery was much more subdued and naturalistic. His voice was used excellently as a tool to distinguish the characters – with his diction being particularly impressive throughout.
Karen Dunbar as Miss Havisham gave a stellar performance. Dunbar’s character journey was excellently paced and managed. Dunbar is well known for her comedic timing and delivery which she plays on within this role. Dunbar’s sinister more deranged interpretation of the character is where the most interest lies within her role as it comes unexpectedly. Dunbar plays on the erratic nature of the character well though I feel at times her delivery was slightly inhibited and could be pushed to a further extreme. Dunbar’s interpretation of the other characters she plays within the company were all distinguished and well received…perhaps moreish.
Jamie Marie Leary as Mrs Joe/Estella. Leary created such excellent and interesting characters within this production. Dickens interpretation of women can be somewhat static – though Leary used this adaptation to breathe new life into these characters. Her choice of emphasis when delivering the dialogue of Mrs Joe was excellent, creating many comedic moments but highlighting the highly strung nature of the character. Though Estella was a completely opposing character and impressive within this change I feel Leary could do more to emphasise the child-like nature of Estella when we are introduced to her by using her physicality more.
Gerry Mulgrew was frightening as Abel Magwitch. Mulgrew impressed audiences with this bewitching performance. Despite the set in a theatre Mulgrew used facial expression to convey the danger of his character – using his eyes to intimidate. Mulgrew struck a perfect balance between naturalistic and heightened acting to portray this character and his journey. Mulgrew also impressed audiences within his other characters displaying great skill utlising instruments.
Grant Smeaton as Mr Pumblechook/Jaggers had the crowd in stitches. His delivery of the text was outrageously overboard using mumbling and stuttering to add comedic effect. His depiction of ‘upper class’ was hilarious and that of which the audience lapped up – mocking the austerity and fraudulence of the characters.
Gavin Jon Wright hooked the audiences, commanding their attention as Pip. Wright’s stamina and energy throughout the performance never plateaued as he poured his heart out on stage. Wright’s naturalistic approach gave the audience the ability to completely trust in his character’s arc and version of events. Wright’s delivery of the aside comments to the audience created a bond between himself and the audience members allowing them to hang on his every word.
Gary McNair has created an exceptional adaptation which warms the audience to the world of Dickens. The Glaswegian tongue throughout to some extent outwith Scotland may be as challenging as reading some of Dickens’ writing. To a Scottish audience it breaks down the classic, using local references and Scottish humour to allow the audience to indulge in the performance. An inspirational adaptation which will have a ripple effect in transforming classic literature.
‘Nae Expectations’ is Andy Arnold’s last show which he will direct with the Tron as he steps down as Artistic Director. His vision is clever and slick as he creates a world which invites you to fill in the gaps. His use of movement and blocking creates a performance which flows well without interruption which allows you to immerse yourself fully. Arnold’s vision is heightened by Jenny Booth’s creative and multifaceted set, Victoria Brown’s excellent costumes, Benny Goodman’s effective lighting and Ross Brown’s excellent sound design. The effects merge together wonderfully to transport you through space and time. The performance is taken as far as the work can go with wonderful storytelling.
‘Nae Expectations’ is a wonder which will inspire future creators to take a chance on classic literature. Despite the brilliant adaptation at times the performance feels like the pacing is slightly slow – this is due to the nature of the length of the story. With this being said it is an excellent adaptation which invites Scottish audiences to allow space for classic literature into their world and encourages Scottish creatives to take a chance on adapting classic texts to work for our theatre goers.
‘Nae Expectations’ is playing at the Tron Theatre Glasgow from 25th October – 4th November 2023. Get your tickets here: https://www.tron.co.uk/shows/nae-expectations/
📸Mihaela Bodlovic
Theatre Scotland 
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