“There was a real mix of excitement and weight, honestly.”
That’s how Finlay McKillop, one half of the new Clown and Wolfman duo, describes stepping into the role of Will — one of Scotland’s most unlikely folk heroes. The stage musical of Restless Natives opens at Perth Theatre this spring, before setting off on a Scottish tour that includes Stirling, Aberdeen, Inverness, Edinburgh, and Glasgow.
McKillop, joined by Kyle Gardiner as Ronnie and Kirsty MacLaren as Margot, leads a large Scottish ensemble in the first stage adaptation of the 1985 cult film. Directed by Michael Hoffman and written by Hoffman, Ninian Dunnett, and Andy Paterson, the musical features music inspired by Big Country and a creative team that includes original collaborators from the film.
The project carries a certain pressure. The film is beloved, a lo-fi folk story of two working-class Edinburgh lads turned outlaw tourist-bandits on a motorbike. And as Gardiner puts it, “From before day one you felt going into it how much it meant to people.”
“A privilege… and a responsibility”
Gardiner describes landing the role of Ronnie as “a privilege.” At a poster shoot, he and McKillop were photographed on a bike belonging to Kevin Shanks, a superfan of the original, complete with the licence plate from the film. “Meeting him was great,” Gardiner says. “You felt from the start how much it meant to people, and a great responsibility to get it right for them.”
McKillop echoes the sentiment. “It felt like a big responsibility,” he says. “Restless Natives is a bit of a cult classic in Scotland, so there’s this sense of wanting to do it justice, especially knowing how much people love the film.”
That affection hasn’t faded. Both actors watched the original film together in Perth. “We did watch it with Mike, our director,” Gardiner says. “It was a great experience because you saw first-hand how alive the story is with audiences even now, 40 years after its first release.”
“There was a real mix of excitement and weight, honestly.”
Finlay McKillop
Still, neither actor is interested in mimicry. “We’re not beholden to it. We’re not doing impressions of the original,” says McKillop. “So it’s been about discovering who Will is to me, and leaning into that.”
Working-class heroes in Thatcher’s Britain
The show may be irreverent, even daft at times, but it’s rooted in a time of economic uncertainty and political anger.
“At the heart of it is a story about two working-class young men in Thatcher’s Britain who have been robbed of a future and hope by the powers that be,” says Gardiner. “That’s a story that is sadly just as relevant now as it was when the film was produced in the ’80s.”
For McKillop, that balance between mischief and meaning is what musical theatre does best. “It gives you space to be ridiculous and heartfelt, sometimes within the same breath,” he says. “What’s surprised me is how much of Will’s comedy happens in the silences, in those little moments between the lines. There’s something sincere in allowing those pauses to sit… That’s where the character’s heart really comes through.”
Gardiner adds: “The script is so whimsical and full of charm and daftness, and anyone who knows me will know daftness comes very easily to me. But we’re all just as passionate about the message as we are about the fun, which is crucial to making the whole thing work.”
A Scottish identity, bold and unfiltered
From the very first draft, this adaptation was designed to feel local. Not in a parochial sense, but in its language, values, and humour. “From the very beginning, I’ve said this show will make you proud to be Scottish,” says McKillop.
He continues: “There are so many different characters and moments in the show that I think everyone will connect with at least one person or one situation and go, ‘That’s me,’ or ‘I know that feeling.’”
That emotional grounding, he says, sits inside “a family, feel-good show full of cheeky humour and real emotional warmth.”
Gardiner describes the same thread. “Pride in being Scottish is something that I think we feel really strongly,” he says. “Without the heroes in the hills, your Rob Roys, your William Wallaces, there would be no Clown and Wolfman. So I’m really looking forward to seeing how that manifests all over the country.”
That tone carries through the script, the performances, and the music. “The Scottish identity is baked into every part of it,” McKillop says. “There are even lines and phrases in there that only Scots will truly get, which I love. There’s a real sense of authenticity.”
Leith Theatre reopens its doors
The production will become the first major theatrical performance at Leith Theatre since 2018. From 7 to 22 June, Restless Natives: The Musical will mark the reopening of the historic Edinburgh venue.
Gardiner has performed in the space before, though under very different circumstances. “I shot a short film in the theatre back in March 2024 when it was still mid-renovation,” he recalls. “I had next to nothing on as a costume and had to straddle a hot water bottle between takes, whilst wearing what can only be described as a tent for a coat because there was no heating.”
Still, he remembers the atmosphere. “Even then you could find time to stop and appreciate how beautiful the building is. A place like that feels like it has to be fully functioning as a performance space.”
“A place like that feels like it has to be fully functioning as a performance space.”
Kyle Gardiner talking about Leith Theatre
For McKillop, it’s about coming full circle. “It feels very full circle because the film is set in Wester Hailes and Edinburgh. Leith isn’t far from some of those filming locations. Bringing Restless Natives home like this, to such an iconic space, just makes it all the more meaningful.”
He adds: “What really struck me was the team behind the venue. Seeing what it meant to them made me feel genuinely proud to be part of this moment.”
Building the characters
Both actors did watch the original film, but neither approached their roles as a recreation. “The film is a great reference to have in terms of the general feel of the character,” says Gardiner, “but ultimately you do have to find your own way with it.”
He credits the creative team, including director Hoffman and writers Dunnett and Paterson, with helping shape that process. “Having the original creative team in the room was like having a cheat sheet during rehearsals. They were always receptive to any questions I had and really aided the process of bringing Ronnie from screen to stage.”
McKillop, who originally auditioned for Ronnie, found himself landing in more familiar territory with Will. “I definitely see myself more as a Will,” he says. “There are loads of little traits I relate to, even down to the dynamic with my flatmate in London. He’s the one making plans, and I’m the one going, ‘Yeah, sure. Let’s do it!’”
He was clear-eyed about the shift in medium too. “You can’t just copy and paste from screen to stage, especially not in a musical, where there are whole new scenes, songs, and emotional beats that don’t exist in the film.”
A new musical with old roots
The show features original music by Tim Sutton, with lyrics by Ninian Dunnett and a book by Dunnett, Hoffman and Paterson. Musical direction comes from Hilary Brooks, with choreography by Chris Stuart Wilson and design by Becky Minto.
Much of the spirit and some of the material is drawn from Big Country, whose soaring guitars and anthemic energy lend the production both grit and scale. But it’s the combination of new music and local specificity that shapes the musical’s voice.
“The script is so alive,” says Gardiner. “And the music really taps into the energy and romance of the story.”
Local story, wide appeal
For all its hyper-specificity — Edinburgh slang, Scottish myth, local pride — the production has ambitions beyond geography.
“My biggest hope is that people leave the theatre feeling uplifted and inspired,” says McKillop. “Whether that’s to chase something of their own, or just to see their lives and stories reflected on stage.”
Gardiner adds: “It’s not just about two lads in a van. It’s about hope, rebellion, friendship. I think there’s something really universal in that.”
As the Clown and the Wolfman take to the road once more, this time through theatre aisles instead of Highland backroads, it’s clear that Restless Natives is no nostalgia act. It’s a folk story with guitars, helmets, masks, and heart.
And for a new generation, it might just become a classic all over again.
Production Images: Mihaela Bodlovic
Details
Show: Restless Natives: The Musical
Venue: Various venues across Scotland (tour)
Dates: Spring – Summer 2025
Running Time: 2 hours 25 mins approx (including interval)
Age Guidance: TBC
Admission: Varies by Venue
Time:
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