At the Platform theatre in the east end of Glasgow, a city divided by green and blue, white rules the roost – literally – as egg enthusiasts Cotton and Wrinkle scrub and brush, clean and polish, their bird boxes with a thoroughness which would give Kim and Aggie a run for their money.

On the rare occasion they stumble upon an item of colour (a symbol for differences of race, religion, gender and sexuality), the face of Wrinkle (Sean Hay) does exactly what it says on the tin and wrinkles into a frown as he raises an arm and points an index finger at a bin in the corner of the all-white set designed by Shona Reppe.

Much to the dissatisfaction of Cotton (Chris Alexander stepping into the shoes of show creator Andy Manley) who expresses concern that one of their colourful findings is “just a little egg”, “all alone”, “with no one to look after it”. But rules are rules. And the fate of the red egg, like that of child refugees, is put out of sight out of mind.

In the dark of night, however, Cotton hatches a plot to free the egg and rehouse it in a homely bird box. An act of quiet bravery which triggers a colourful street party of yellow combs, pink pom-poms and red balls of wool. And, later, a spot of audience participation as adults and children paint the town red – and any colour they wish!

“What’s happening?” asks an incredulous Wrinkle. What’s happening is that Cotton, much like the Scottish Government’s One Scotland campaign for a more inclusive society (take heed Sadiq Khan), has offered a hand of friendship to those who are different. A move which Wrinkle endorses with one word: “Welcome!”

First produced in 2010, Catherine Wheel’s production of White has enchanted audiences throughout the world and picked up a raft of awards including a Fringe First and Best Show for Children and Young People at the Theatre Awards UK. With another European tour on the horizon, it looks like it will be all-white on the night!

Peter Callaghan
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