A powerful new theatrical production is using music and performance to shine a stark light on the often-overlooked crisis of prisoner re-entry into society. 'A Giant on the Bridge', a piece of urgent gig-theatre, draws directly from the lived experiences of those navigating life after incarceration.
The show, which premiered in 2024 and embarks on a Scottish tour next month, is the creation of singer-songwriter Jo Mango and theatre-maker Liam Hurley. It was born from the extensive research project Distant Voices: Coming Home, which uncovered troubling statistics about reoffending and the systemic barriers former inmates face.
Songwriting as a Tool for Truth
Rather than presenting a dry report, the team turned their findings into art. "It's a kind of way of writing an essay about what we learned," explains Mango, but using songs co-created with roughly 200 people in prisons and community justice settings.
Research associate Phil Crockett Thomas observed that the collaborative songwriting process became a vital outlet. "Coming home, punishment and disconnection from the world outside are extremely distressing experiences," she says. The music provided "a resource for the self" and sometimes "a quiet form of resistance," allowing participants to explore complex feelings on their own terms.
Interestingly, the songs often strayed from direct prison narratives. Participants penned tracks about "completely different things" or crafted "daft and wonderful songs." This creative freedom yielded profound results, including a poignant song audiences often misattribute to an inmate. "It's actually written by a prison officer," Mango reveals, reflecting on a child missing a parent away on military service.
A Scottish Indie Folk Supergroup Takes the Stage
The show's raw material is brought to life by what Hurley describes as "a Scottish indie folk supergroup." The ensemble features a remarkable lineup: Jo Mango, Louis Abbott of Admiral Fallow, Kim Grant (aka Raveloe), Jill O'Sullivan, Rachel Sermanni, and rapper Dave Hook.
Hurley highlights the theatrical magic in their performance. "It's that moment where a live performer is telling a story as themselves, and then they become the character," he says, emphasising the "spark of intimacy and connection" that doesn't rely on elaborate production. He notes the cast's transformation, as none initially considered themselves storytellers or actors.
The script, collaboratively written by Hurley, weaves these diverse songs into a cohesive narrative. He saw the project as a chance to foster "an intelligent, emotional and human conversation... around an issue that doesn't really get spoken about with much compassion or nuance."
Confronting Complexity Without Easy Answers
Over its development, the show has found its own confident voice. "It's got this confidence and this independence, and it's still absolutely sensitively relating back to those earlier steps," Crockett Thomas reflects. Hurley adds that despite starting with disparate stories, the audience experiences "one satisfying emotional journey."
The production does not shy away from the grim political context in Scotland. Crockett Thomas challenges the nation's "undeserved image as progressive on justice issues," pointing to high imprisonment rates and some of the highest deaths in custody in Europe. "Why are we building more and bigger prisons rather than trying to decarcerate?" she asks.
Ultimately, 'A Giant on the Bridge' offers no simple solutions. Instead, it creates a shared space for collective reflection. Hurley hopes audiences leave "emotionally opened, intellectually stimulated, but also productively discombobulated." In a line that captures the show's spirit, he concludes: "We can't all talk at the same time, but we can all sing at the same time."
The show will be at Cottier's theatre in Glasgow on 25-26 February before touring across Scotland.
