Interview of 1902 with Saltire Sky’s
Nathan Scott-Dunn and Stirling Sands
about Hibernian FC and much more…
interview by Louise Cannon – Bookmarks and Stages
There’s more to the Off Westend Award Winning play, 1902, than football, as I discovered whilst asking the questions. As much as it is celebrating 150 years of the club, Hibernian FC, we also talked about other themes, such as toxic masculinity, using music in such a play, reflecting working class.
- What makes Hibernian FC, Hibs so special that you chose to create a play with this particular football club at its centre?
Hibernian FC is deeply woven into the identity of Leith and its people. It’s not just a team, it’s family, tradition, and home. For generations, supporting Hibs has been passed down like a birthright. That sense of loyalty, of clinging to hope in the face of disappointment, was what really drew us in.
The 2016 Scottish Cup win, after 114 years, was a moment that felt like something more than football. It was a collective emotional release, a victory for everyone who had ever believed through all the heartbreak. 1902 uses that moment as a backdrop, not to tell a story about football, but to explore the lives and relationships of the people who live for it. It’s about community, resilience, identity, and how something as simple as a match can carry so much emotional weight for working-class people who don’t always feel represented in mainstream narratives. - How do you feel toxic masculinity can change and how do you deal with this to make an impact in your play?
Toxic masculinity changes when we make space for vulnerability and when we show that there are other ways to be a man than the one-dimensional, emotionally repressed version we’ve been sold. In 1902, we look at masculinity in a very real, grounded way. These characters argue, lash out, make mistakes but they also cry, admit fear, and support each other in quiet, powerful ways.
The play doesn’t lecture, it reflects. We see how bottled-up emotions, shame, and societal pressure affect working-class men who’ve grown up being told that showing weakness isn’t an option. Through their interactions, especially in moments of conflict and intimacy, we show that emotional honesty can exist within these tough exteriors.
The goal isn’t to preach, it’s to represent, and in doing so, invite empathy and change. We’re trying to open up a conversation about how men can still be strong while being emotionally present and accountable. - What genre(s) of music do you use in your show and how did you choose what to put in it?
The music in 1902 is deeply rooted in identity and place. At the centre of it is the music of The Proclaimers, which we use to underscore the entire show. Their songs aren’t just a soundtrack, they’re the emotional heartbeat of the piece. Being from Leith themselves, The Proclaimers’ music captures the spirit, struggle, humour, and heart of working-class Scotland in a way that’s unmatched. Their lyrics speak directly to themes of home, belonging, loyalty, and love, all of which are central to 1902.
Their songs allow us to move fluidly between moments of tension, reflection, and celebration. They help us create atmosphere, elevate emotion, and at times give the audience space to breathe or reflect. The music is woven into the fabric of the show, not tacked on, but lived in by the characters.
Alongside that, we also use authentic Hibs football chants throughout the play. These are the songs you hear in the stands, in the pub, on the streets, full of energy, defiance, and unity. The chants bring the community to life on stage and act as a powerful form of collective expression. For the characters, they’re a release; for the audience, they’re instantly recognisable and deeply nostalgic.
Together, The Proclaimers’ music and the Hibs chants create a soundscape that’s unmistakably local, emotionally charged, and completely immersive. It’s not just about setting the scene, it’s about capturing the soul of a community. - What research, if any, did you do so the working class in Scotland is portrayed accurately and so everyone can recognise it.
A lot of the work came from lived experience and working closely with people from the communities we’re representing. This wasn’t about imposing a narrative, it was about reflecting one.
The script was developed through workshops, conversations, and a lot of listening. We made sure the dialogue was honest, not softened for a wider audience, but kept true to how people actually speak in working-class communities. That includes the humour, the swearing, the silences, and the things that are said without being said.
We also paid close attention to the cultural references, the emotional rhythms, and the socioeconomic pressures that shape daily life, from debt and employment struggles to family responsibilities and unspoken expectations. Every detail was considered so the people who live this reality can watch the show and feel recognised, not stereotyped. - How important do you feel that the working class is represented in theatre and the Edinburgh Fringe Festival in particular?
It’s absolutely essential. The working class has historically been underrepresented or misrepresented in theatre. When they do appear, it’s often through a middle-class lens, which tends to flatten the complexity and dignity of working-class life.
At the Fringe, which can sometimes feel dominated by shows that are inaccessible either financially or culturally, it’s even more important to create space for stories that reflect real people’s experiences. Representation isn’t just about visibility, it’s about ownership. It’s about giving working-class artists the opportunity to tell their own stories on their own terms.
1902 is part of that effort. It’s theatre rooted in lived experience, told in a language and setting that working-class audiences can connect to. It’s also about making theatre feel like a place where everyone belongs, not just those who can afford a £20 ticket and a glass of wine at the interval. Our ticket prices have remained the same since our inception in 2017 ensuring everyone can access our shows at an affordable price. - Where can people follow you?
You can follow Saltire Sky Theatre on:
📸 Instagram: @saltireskytheatre
🐦 Twitter/X: @SaltireSkyTC
📘 Facebook: Saltire Sky Theatre
🌍 Website: saltireskytheatre.com
Tickets: 1902 | Edinburgh Festival Fringe
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Bookmarks and Stages by Lou 