In 2007, smoking is banned and 'foetal asbos' monitor the babies of the underclass. In the 2032 of Subway, now showing at the Lyric Studio, such trends have morphed into a dystopia. The authorities have marked Scruggs, since birth, as a candidate for crime, so he needs to avoid trouble. He needs to steer clear of cigarette smokers. But he wants to reconnect with his father. Travelling back to Edinburgh, he finds a city changed, a gleaming new hospital overshadows his old local and cameras track his every move. Unemployed, when Scruggs is hungover he can't buy an Irn Bru because the government's automated vending machine prescribes him health juices. In such a future, lighting a pipe becomes an insurrectionary act.

Produced by Vanishing Point, Subway is a fast paced story, set to the fast paced fiddling of a live Kosovan band. The soaring music that marks the end of the revolution (as Scruggs realises that sowing the seeds of revolution is as useless as ploughing the waves) is the highlight of the show. 'It's like Tommy!' my date scribbled on a piece of paper nudging me hard in the ribs. There's no pinball playing, but there is a lot of elegaic string plucking. Subway it is a tale of unlikely triumph and a distinctively visual feast.

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