In a thought-provoking exploration of the challenges faced by former prisoners, the theatrical production “A Giant on the Bridge” is captivating audiences across Scotland. Conceived by singer-songwriter Jo Mango and theatre-maker Liam Hurley, the urgent “gig-theatre” piece draws on dozens of interviews to reveal the harsh realities of homecoming.
The production emerged from a research project titled “Distant Voices: Coming Home,” which uncovered alarming statistics about the high recidivism rates among those leaving the prison system. “Research showed that the process is often less about the individual and more about societal and structural issues – whether they can get a job when they come out, whether they have any family left who are there to support them,” Mango explains.
Rather than a didactic approach, “A Giant on the Bridge” uses collaborative songwriting to give voice to those with lived experiences of the justice system. Over 20 intensive sessions in prisons and community settings, the team worked with around 200 participants, allowing them to express their stories through music.
“Coming home, punishment and disconnection from the world outside are extremely distressing experiences,” says the project’s research associate, Phil Crockett Thomas. “What we found was that collaborative songwriting allowed more space for people to explore those issues in the way that felt right to them.”
The resulting songs, performed by a remarkable ensemble of Scottish musicians, offer a plurality of perspectives. One particularly poignant moment comes from a song written by a prison officer, reflecting on the absence of a father figure due to military service. Another, “Bars and Multicoloured Chairs,” was penned by someone nearing the end of their sentence, grappling with the complicated emotions of release.
Central to the production’s power is the way it blends these diverse narratives into a cohesive, emotionally resonant journey. “It’s that moment where a live performer is telling a story as themselves, and then they become the character,” Hurley says. “You don’t need lights or sound or high production values for that to happen. It’s that spark of intimacy and connection.”
As the show has evolved, it has grown more confident in its own shape, while remaining faithful to the stories and experiences that inspired it. “What’s been so good to see is that the show has become something of its own out of that,” Crockett Thomas reflects. “It’s got this confidence and this independence, and it’s still absolutely sensitively relating back to those earlier steps.”
Ultimately, “A Giant on the Bridge” does not offer simple answers, but rather a shared space for the audience to listen, feel, and grapple with the complexities of life after prison. As Hurley puts it, the aim is to leave audiences “emotionally opened, intellectually stimulated, but also productively discombobulated.”
With its powerful performances and its unwavering commitment to giving voice to the often-overlooked experiences of former prisoners, “A Giant on the Bridge” is a must-see theatrical event that challenges preconceptions and sparks vital conversations about the justice system and the human stories within it.
