When Martin O’Connor first talked to director Lu Kemp about his latest play, he thought she was using some unfamiliar theatrical terminology. What she liked about the script, she told him, was its “versioning”.
Perhaps she had coined the word, perhaps she had borrowed it; either way, it works well to describe Through the Shortbread Tin, a play that fields alternate versions of existing stories. If the same story is told in different ways, whose version should we believe?
The ambiguity is deliberate. O’Connor’s theme is the uncertainty created by Scotland’s greatest literary forgery, a hoax that makes the line between fact and fiction impossible to draw. [READ MORE]