Flora: A New Musical – Scottish Musical About Skye Boat Song Heroine (3 Stars)

An important part of the story of Flora MacDonald is captured in ‘The Skye Boat Song’. In the song, over the sea to Skye, she managed to get Bonnie Prince Charlie to the Isle, and away to safety after the failure of the 1745 rebellion.

Flora uses that story as the beginning of an exploration of her life as she lived up to and for the four decades after that event. The first half deals with how she became part of the escape party whilst the second half continues her story into marriage, and subsequent emigration to America, due to the fact her husband cannot factor for the clan in the way that brings success in the Hebrides. 

Her husband, once a Jacobite at home becomes a fervent supporter of the Crown during the American Revolution taking Flora and parading her around meetings to keep his Jacobite backstory alive, making Flora once more an object of curiosity, rather than a woman of respected Jacobite views. Eventually she leaves him and returns home to the bosom of a family that welcomes her return to settle and live out the rest of her life.  

Scottish musicals are having a moment to shine. Ballad Lines, initially Mother’s Song had a London run whilst it has been announced that the Lyceum production of Wild Rose from last year is off to New York shortly. Flora has more of a homely feel, a kailyard ethos more than the travelling dynamism of both Ballad Lines and Wild Rose. It is, however, no less worthy for it. 

At its heart is the story of a woman foisted on and abused by men, but who has the spirit to find her own way and a voice that she doesn’t mind using. This is therefore a worthwhile exercise bringing Scottish theatre and history together. 

It uses rhyme like an old ballad to tell the story with songs that enhance the narrative – they tell the story but give characters the opportunity to give their emotional depth to the audience. They are fabulous from the sea shanty, the beauty of the Gaelic in song and words and both laments and lullabies wafting across the auditorium. It reminds us of the rich history and heritage this wee nation of ours possesses.  

The script reminds us that history is not only written by the victors, but often the hand on the pen is hairy and male. 

The cast manage to flit in and out many characters and costume changes without leaving us searching for the storyline. The cast of eight includes David Rankine, Alan McHugh, Stephen Clyde, Lana Pheutan, and Sally Swanson but it is the dual leads of Karen Fishwick as the younger and Annie Grace as the elder Flora that shine. 

What I did find confusing was the set. There is this beautiful metaphorical landscape serving as a backdrop of a raging sea which underscores much in the plot – the night Charlie escaped or Flora and husband’s escape to America, or the inner turbulence of Flora’s husband’s mind, or their failure in the Hebrides or in Carolina, or her furious return home. But the set, in front of this visual metaphor, is clumsily stuck in the middle of the stage.

It suggests an end of pier, half circle platform raised with old looking streetlights at the summit, which cuddles an area in front of it used for interiors.

The band is half obscured awkwardly to stage left, which leaves much choreography feeling cramped. Movements between scenes tended to trip over themselves. The eight actors appeared to be doing reels in something the size of a couple of phone boxes. 

It was particularly wonderful to see Bonnie Prince Charlie as he ought to be portrayed, not Bonnie, hardly a prince, but a proper Charlie, Charlie! At least this historical story has been told by a heroine who deserves more than a bit part out a song as some kind of memorial. Flora does that with style, Scottish style. And though it might be tempting to share with the world, it’s a tale worth keeping to ourselves, for now at least.  

Flora: A New Musical

Pavilion Theatre – run now ended

Review Date: Saturday 28^th March 2026

Photo Credit: Jess Shurte, Design Credit: Martha Hegarty