Studio Theatre 
Studio Theatre, Salisbury
Lloyd Perry 
17 February 2026
Four individuals based on a remote Scottish island is probably not the greatest pull into amateur theatre on a cold February night but Studio Theatre, Salisbury hit all the right notes in this brilliantly staged production written by David Greig.
Outlying Islands is set in 1939, on the eve of the Second World War. Two young ornithologists, Robert and John, are sent to a remote island in the Outer Hebrides to conduct a survey of seabirds. They are accompanied by Ellen, the niece of the island’s elderly owner, Kirk. What begins as a scientific expedition gradually reveals a more disturbing purpose: the British government is considering using the island as a testing site for chemical weapons. The isolation of the setting creates an atmosphere of tension and uncertainty, reflecting the looming threat of war.
As the play develops, conflicts emerge between science, morality, and militarism. Robert becomes increasingly enthusiastic about the potential military use of their research, believing in progress and national duty, while John is more cautious and ethically troubled. Ellen, initially appearing naïve and romantic, proves to be perceptive and emotionally complex, challenging the men’s assumptions and forming deep personal connections with them. The island itself becomes symbolic of both freedom and entrapment, a place where conventional social rules loosen but where darker political forces intrude.
This production is Studio Theatre at its best and was skilfully directed by Joanna Daniel. She painted stunning visual scenes of the remote Scottish island and the use of music throughout only adding further enhancement and atmosphere.
The cast are strong too, led well by Jack Cunningham as John: a performance that grew as the evening went on to reach a great crescendo. He brought vulnerability and honesty to the part which was lovely to witness and helped the story on in spades.
There was good support from Michael Harvey as Robert. It was the first time that he had ever ‘trodden the boards’ and after a slight shaky start really did build into the role. John Jenner as the elderly owner of the island, Kirk, turned in a strong performance and there was a lovely cameo appearance by Alistair Faulkner playing the Captain who appears at the very end of the play.
The stand out performance, for me however, was Sophie Cuerden as Ellen. The great Scottish accent and her storytelling ability was of the highest order; the beautiful scene at the end of Act 1 was a particular highlight.
The set was simply stunning, multi-layered with lots of gorse and heather; it immediately took you to Scotland. Along with the brilliant blue and grey sky at the top of the set it really was a joy to behold and set the whole production off brilliantly. A huge credit to the set building team and the vision of the Director, Joanna Daniel.
Lighting and sound was very well handled by Chris Angell and added lots of layers to the feel of the production with beautiful Scottish tunes throughout.
Costumes, created and designed by Theo Ross, created the pre-war feeling although it was a shame to have the lead character in a modern waterproof coat with the modern logo covered over by gaffer tape at the end – It really was a distraction as it reflected in the lights!
As I left I thought that the play has much to say to us as an audience in 2026 about love, relationships and threats that are happening in the world today. Studio Theatre should be proud to have presented this and do it so well.
Come on, people of Salisbury and the outlying areas; get a ticket while you can! Performances run until Saturday 21st February 2026.
