The charismatic Frances Ruffelle and Norman Bowman lead the charming musical The Scot and the Showgirl, which guides us through a song cycle that mirrors the ups and downs of their twenty-eight-year relationship.
Described as a ‘true(ish) wee musical thingamajig’ by creators Ruffelle and Bowman, The Scot and the Showgirl captures the journey of Frankie and Beausy after a chance meeting at Waverley Station. Following their story with a selection of musical numbers that mirror the twists and turns of their relationship, the pair collaborate with director Paul Baker and musical director/arranger Ryan McKenzie with cello, drum, and piano accompaniment.
The energy and natural rapport between Ruffelle and Bowman radiates with infectious positivity—even when exploring darker moments in their relationship. The pair act as the guiding hands that gently lead the audience through an immaculately delivered performance, with both stars bringing their musical prowess and expertise to the fold—packing each number with stirring emotion and captivating performance style. Ruffelle and Bowman spark off each other in stirring duets such as Brigadoon’s Almost Like Being in Love, Applause’s One of a Kind, Elvis Costello’s You Shouldn’t Look at Me That Way, and a personal highlight, Nine’s Unusual Way.
Both performers get the chance to shine in solo numbers, while their stage partner mingles amongst the audience, watching on in admiration. Reflecting the Scottish themes prevalent in The Scot and the Showgirl, there are a variety of Scots anthems in the set such as Caledonia, Pencil Full of Lead, and, you guessed it, I’m Gonna Be (500 Miles)—not to mention a token version of Andy Stewart’s Donald Beausy Where’s Your Troosers. For those visiting the Fringe to sample a mix of Scottish and international culture, The Scot and the Showgirl is a welcome showcase for the musical heritage of the country.
Praise should go to Ruffelle and Bowman for their pairing of songs with the narrative beats; the lyrics of tracks perfectly coincide with the story that the two performers share. An encore sees Ruffelle deliver Les Mis’s On My Own—her signature West End anthem (this fan would also rate her 1994 Eurovision Song Contest entry Lonely Symphony (We Will Be Free) as her career best, though!). Throughout the production, Ruffelle and Bowman mix musical theatre standards with pop numbers—with a slight prevalence towards the former. A few more up-tempo pop numbers would be welcome—Eurythmics, Deacon Blue, Simple Minds, or Average White Band songs could also help provide this.
This charming blend of storytelling and music leaves the audience both entertained and emotionally moved, showcasing the depth of Ruffelle and Bowman’s chemistry.
Tickets for The Scot and the Showgirl are available here.
Lead photo: Debbi Clark