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The Trials

Tron Theatre, Glasgow

Three stars

 

How might a generation of young people judge the failures of their parents to protect the environment? This is the starting point for Dawn King’s play, receiving its Scottish premiere in Joanna Bowman’s production for the Tron. King’s line of inquiry takes us into some dystopian near future, where three adults all deemed culpable in the damage done are judged by a jury of teenagers, with euthanisation the potential end result.

 

The trio are first world cannon fodder, whose speeches of liberal atonement for taking too many flights, working for dodgy oil companies and probably not putting the right rubbish in the recycling bin probably aren’t going to save them. Certainly not from the twelve angry adolescents tasked here to decide their fate with a mere fifteen minutes to make their mind up. 

 

As the unnamed Defendants, Brian Ferguson, Maryam Hamidi and Pauline Goldsmith speak their monologues from designer Jessica Worrall’s state of art dock with a belated humility as they face their lot. What are possibly their last words before their fate is decided alternate with scenes among the jury. 

 

As played by young people drawn from youth theatre and drama groups around Glasgow, King’s script presents the twelve as angry, horny, confused and very, very concerned about the world in the way that only young people can be. While some want genuine justice, others want to fight, and some just want to snog.  

 

In a way King has written a perfect play for today, as the teens squabble, bully, and reveal their own anxieties. The already high stakes are made even more dangerous by the power-crazed tendencies of some. It isn’t clear who makes the rules in this brave new world beyond the courtroom, but chances are that someone somewhere is watching very closely and taking notes. 

 

The result is a hybrid of professional and youth theatre, which sees King give voice to some of the serious concerns regarding the future. For all the idealism of the next generation on show, that they live in a world where the death penalty has been introduced is equally cause for concern. In the end, the power the young people are given backfires on them in a quietly provocative play that never quite takes sides, and is all the better for it. 


The Herald, March 12th 2026

 

ends

 

 

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