Part of the appeal of Jackie Kay’s memoir is the way it loops through time. It’s called Red Dust Road, but the poet’s path to discovering her birth parents is anything but straight. In chapters that jump backwards and forwards, from her first adult encounter with her birth mother to her childhood experience of racist taunting, the book takes a circuitous route. It has the impressionistic quality of a collage, as if to reflect the nebulous nature of identity.
The structure is such an integral feature of the book that playwright Tanika Gupta has good reason to hold on to it in this adaptation for the National Theatre of Scotland and Home, Manchester. Thus, Sasha Frost, playing Kay with a sense of curiosity, humour and vulnerability, goes through a nonlinear sequence of scenes that feels dreamy and elliptical. One minute, she’s standing alone beneath a spotlight in Lizzie Powell’s brooding lighting design, the next she’ll be surrounded by black feminist activists, meeting long-lost family in Nairn, discovering her birth father in Nigeria or getting involved with her adoptive parents’ communist campaigning.
Faithful though it is, the approach has limitations on stage. Away from the intimacy of the book, Kay’s dilemma becomes less apparent. She is an adopted child from a loving home who is nonetheless in search of self-definition, hoping that finding her birth parents will fill an emotional void. But articulating her yearning is not so easy in a theatrical setting. As a play, her story is high on incident but low on dramatic conflict. You lose sight of the problem that needs to be resolved.
The weakness is exacerbated by the structure. When scenes jump in time, they not only tend to repeat information we already know but drift towards the inconsequential. To hear Kay’s adoptive family recite the whole of Robert Burns’s Address to a Haggis might tell us about their camaraderie, but does nothing to move the story forward. Theatre thrives in the present tense, but here the past drags on the play’s momentum. Rather than spin impressionistically, it seems arbitrary and unfocused.
It doesn’t help that Dawn Walton’s production feels like a studio play cast adrift on the main stage. Despite the imposing picture frame at the back of Simon Kenny’s set, its sides morphing into a knotty trunk to create a literal family tree, the action is restrained and domestic. Kay’s journey of discovery is played out in quiet exchanges in living rooms where people show each other photographs and reflect on the old days. In other circumstances, you’d criticise the scene of 1980s disco dancing for going on too long (why the whole song?), but here you welcome it for breaking the pattern. There’s an awful lot of sitting on chairs.
Morning shows
Bout
Summerhall, 10.20am, until 25 August. Read the review.
Comète
Assembly Checkpoint, 10.30am, until 26 August
Are We Not Drawn Onward to New ErA
Zoo Southside, 11am, until 25 August. Read the review.
Bystanders
Summerhall, 11.40am, until 25 August. Read the review.
Afternoon shows
#HonestAmy
Pleasance Dome, 12pm, until 26 August. Read the review.
Sea Sick
Canada Hub @ Kings Hall, 12.30pm, until 25 August
Algorithms
Pleasance Courtyard, 12.45pm, until 26 August
F Off
Underbelly Cowgate, 12.50pm, until 25 August. Read the review.
Fishbowl
Pleasance Courtyard, 1pm, until 26 August. Read the review
The Accident Did Not Take Place
Pleasance Courtyard, 1pm, until 26 August. Read the review
Vigil
Summerhall, 1pm, until 25 August.
Beach Body Ready
Pleasance Courtyard, 1.10pm, until 26 August. Read the review
Collapsible
Assembly Roxy, 1.20pm, until 25 August. Read the review
For All I Care
Summerhall, 1.30pm, until 25 August. Read the review
I’ll Take You to Mrs Cole!
Pleasance Courtyard 1.45pm until 26 August.
Art Heist
Underbelly, 1.55pm, until 25 August. Read the review
Like Animals
Summerhall, 2.15pm, until 25 August
The Happiness Project
Army @ the Fringe, 2.20pm, until 25 August
Beat
Pleasance Dome, 2pm, until 26 August. Read the review
Spray
Assembly Roxy, 2.35pm, until 26 August
Ada Campe and the Psychic Duck
The Stand’s New Town theatre, 2.50pm, until 25 August
Anguis
Gilded Balloon Teviot, 3pm, until 26 August. Read the review
All of Me
Summerhall, 3.10pm, until 25 August. Read the review
George Fouracres
Pleasance Courtyard, 3.30pm, until 25 August. Read the review
If You’re Feeling Sinister
Gilded Balloon, 3.45pm, until 26 August. Read the review
Scottee
Assembly Roxy, 4.05pm, until 25 August. Read the review
Lola and Jo
Assembly George Square, 4.15pm, until 25 August
First Time
Summerhall, 4.15pm, until 25 August
The Incident Room
Pleasance Courtyard, 4.30pm, until 26 August. Read the review
Typical
Pleasance Courtyard, 4.30pm, until 25 August
Everything I Do
Summerhall, 4.30pm, until 25 August
The Last of the Pelican Daughters
Pleasance Courtyard, 4.40pm, until 25 August. Read the review
The Chosen
Dance Base, 5pm, until 25 August. Read the review
Daniel Kitson
Stand Comedy Club, 5pm, until 25 August. Read the review
Scream Phone
Gilded Balloon Patter Hoose, 5pm, until 26 August.
Four Woke Baes
Underbelly Cowgate, 5.05pm, until 25 August. Read the review
Parakeet
Roundabout @ Summerhall, 5.05pm, until 25 August. Read the review
Superstar
Underbelly Cowgate, 5.30pm, until 25 August. Read the review
Janine Harouni
Pleasance Courtyard, 5.45pm, until 25 August. Read the review
Daddy Drag
Summerhall, 5.45pm, until 25 August. Read the review
Snare
Pleasance Courtyard, 6pm, until 26 August. Read the review
Tom Parry - “Parryoke!”
Pleasance Courtyard, 6pm, until 26 August. Read the review
Evening shows
Who Cares
Summerhall, 6.20pm, until 25 August. Read the review
Tom Rosenthal
Pleasance Courtyard, 6.30pm, until 25 August. Read the review
Pops
Assembly Roxy, 6.35pm, until 25 August. Read the review
Toyko Rose
Underbelly, 6.55pm, until 25 August
Kai Samra
Pleasance Courtyard, 7pm, until 25 August. Read the review
Sophie Duker
Pleasance Courtyard, 7pm, until 24 August. Read the review
Jack Rooke
Assembly George Square Gardens, 7.30pm, until 24 August. Read the review
The Afflicted
Summerhall, 7.30pm, until 25 August
The Wild Unfeeling World
Pleasance Courtyard, 7.30pm, until 25 August
John Robins
Pleasance Courtyard, 7.30pm, until 25 August. Read the review
Zoë Coombs Marr
Monkey Barrel Comedy, 7.30pm, until 25 August. Read the review
Lucy McCormick
Pleasance Courtyard, 8pm, until 25 August. Read the review
Traumboy
Summerhall, 8.10pm, until 25 August. Read the review
London Hughes
Pleasance Courtyard, 8.15pm, until 25 August. Read the review
Huge Davies
Pleasance Courtyard, 8.15pm, until 25 August
Josie Long
Stand Comedy Club, 8.20pm, until 25 August. Read the review
Camille O’Sullivan Sings Cave
Pleasance Courtyard, 9.15pm, until 25 August
Simon Brodkin
Pleasance Courtyard, 9.30pm, until 24 August. Read the review
Musik
Assembly Rooms, 9.40pm, until 24 August. Read the review
Courtney Pauroso
Underbelly Cowgate, 9.40pm, until 25 August. Read the review
Jamie Loftus
Pleasance Courtyard, 10.45pm, until 26 August
Catherine Cohen
Pleasance Courtyard, 10.45pm, until 24 August. Read the review
Diane Chorley
Assembly, 11.00pm, until 25 August
Spank!
Underbelly Cowgate, 11.55pm, until 25 August
Times vary
Rich Kids: A History of Shopping Malls in Tehran
Traverse, until 25 August. Read the review
Enough
Traverse, until 25 August. Read the review
Crocodile Fever
Traverse, until 25 August. Read the review
How Not to Drown
Traverse, until 25 August. Read the review
Burgerz
Traverse, until 25 August. Read the review
Baby Reindeer
Summerhall, until 25 August. Read the review
Ahir Shah
Monkey Barrel Comedy, until 25 August. Read the review
Arthur
Your home, Edinburgh, until 25 August. Read the review
Daughterhood
Summerhall, until 25 August. Read the review
Until the Flood
Traverse, until 25 August. Read the review
Roots
Church Hill theatre, until 25 August. Read the review
The Patient Gloria
Traverse, until 25 August. Read the review
Much of Kay’s wry, observational humour does make the transition, however, and the cast do a pleasing job of populating the poet’s world. Elaine C Smith and Lewis Howden have an instinctive feel for the old-school socialist values of her adoptive parents, while Stefan Adegbola captures the mysterious distance of a birth father who cares more about her as a potential recruit to Christianity than as an estranged daughter. By contrast, Irene Allan is touchingly lost as her birth mother. But despite the charm and sparkle of Frost’s central performance, it’s an underwhelming voyage of discovery.
At Royal Lyceum, Edinburgh, until 18 August. Then touring until 21 September.
