By Joy Watters at Dundee Rep

THE INAUGURAL season of the National Theatre of Scotland continues apace with Chris Hannan’s re-written version of his 1985 work, which opened at Dundee.

A spectral tenement with the echoing sounds of children’s voices greets the audience before the inhabitants bustle to and from their homes. While the neighbours take a pride in scrubbing the tenement stairs, the Quinn family lives in spectacular squalor.

Amid the filth, mother and wife Elizabeth Gordon Quinn boasts of her refinement and sensibilities, patronises her neighbours, adopting a repellently regal style. But this is just one layer, for the role is a complex one and it is in the unravelling of her personality that lies the fascination.

Set during the Glasgow rent strikes of 1915, Elizabeth initially refuses to ally herself with the strikers saying she must be free to do what she wants. She insists that she must be a free spirit and, although the family is penniless, she wants to keep the piano she cannot play, as it sets her apart from the neighbours.

It is a wonderful part as all human life is there in one character, she is whimsical, obnoxious, vindictive, intelligent, clueless, pathetic, witty, domineering and a lost soul. Her childhood in poverty determined her future, making her incapable of facing reality.

The family is characterised by its use of language, delighting in avoiding the prosaic, husband William describes the police as a “thesaurus of errors” in the opening minute, setting the tone for the piece. Son Aidan deserts from the army and he too speaks his mind, but in a more contemporary tone, commentating on the nature of the Scots.

John Tiffany’s direction really comes into its own in the latter stages as the work broadens out, from little flickers of action it bursts into the final conflagration of its climax. Showing the life of the tenement seems to dictate an uneven pace but also has some lovely moments such as the aptly named Mrs Black, sitting crow-like at the top dispensing her Caledonian gloom.

Cara Kelly impressively immerses herself in the role of Elizabeth, creating that all important love-hate relationship with the audience and Robin Laing as her son brings control and strength to the part.

Neil Warmington’s set and costumes, lit by Chahine Yavroyan, beautifully brings the action into the auditorium, while composer David Paul Jones has created a haunting score which does not obscure.

These are early days for the NTS but the future is looking good if this is a sample.