Taking RLS’s unfinished Weir of Hermiston as his starting point, John Carnegie has created an enticing drama which succeeds in bringing the politics of the late 18th century Scottish enlightenment into a domestic love story. This is fantastically atmospheric stuff, Carnegie’s own subtle lighting turning Scott Anderson’s simple set, dominated by a great kitchen table, into an arena for stories to well up.

Three tight and versatile performances help tremendously. Michael Mackenzie is a curmudgeonly sot as Lord Hermiston, berating his son Archie as he berates the plaintiffs before he sends them to the gallows. Archie is not the half of Grant O’Rourke’s endeavours, however, as Archie helps his father enact particular court scenes, conjuring characters with remarkable physical and vocal dexterity.

Providing a cohesion to this is Isabella Jarrett as housekeeper Kirstie Elliot. She has a sternness about her which is belied by her onstage transformation into her niece and Archie’s amour, also Kirstie. Her rapport with O’Rourke is obvious as they enact Archie’s scenes with both Kirsties. The Scots tongue might put some off. But, like listening to Shakespeare, it just takes a little getting used to. And firmly sets the production in both time and place.