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Review: WIPING MY MOTHER'S ARSE, Pitlochry Festival Theatre

Wiping My Mother's Arse runs at Pitlochry Festival Theatre until 5 September

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Review: WIPING MY MOTHER'S ARSE, Pitlochry Festival Theatre

Review: WIPING MY MOTHER'S ARSE, Pitlochry Festival Theatre Image

Wiping My Mother’s Arse is a revival of a 2001 play by Iain Heggie, and it is directed by Sam Hardie. Staged in the studio theatre in Pitlochry Festival Theatre, it is part of their 2026 season.

Andrene (Ann Kidd) lives in a care home and every day she asks her carer and friend Larry (Johnny McKnight) if they can leave. Larry is caring and treats Andrene with dignity, having a little joke with her as they get ready for the day ahead. 

Andrene announces that her son Derek (David Rankine) is coming for a visit, which comes as a shock to Larry, who has a history with Derek. It’s an even bigger surprise when he brings his new girlfriend Kath (Lisa Livingstone). 

Johnny McKnight excels as Larry, a man who very much cares for his patients and knows they’re still people with a sense of humour. He’s also brilliantly biting with his interactions with Derek. 

Derek has moved to the opposite end of the country and he doesn’t have much awareness of his mother’s day-to-day reality. Ann Kidd plays Andrene with warmth and wit but also shows her vulnerability beautifully. He’s keen to spend her money and is obsessing over whether Larry has completely selfless intentions with his wealthy mother. 

It’s a fun play with fascinating characters. Derek’s motivation is questionable because while it seems like he’s heavily money-oriented, his past behaviours don’t quite add up. He doesn’t seem to know what he wants in life, but considering he and Kath have zero romantic relationship, why is he so keen to get married? 

The writing is particularly sharp when it comes to Andrene, and it’s refreshing to see a play about someone living in a care home who has a bit of spark about them. The text has been updated with podcasts, voice notes and vapes and feels very current.

Photo credit: Tommy Ga-Ken Wan

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