Join acclaimed author Andrew O’Hagan and musician David Paul Jones as they discuss the stage adaptation of Mayflies, a story of friendship and music in 1980s Scotland.
Acclaimed Scottish author Andrew O’Hagan is thrilled about the stage adaptation of his novel Mayflies a poignant tale of male friendship set against the backdrop of Thatcher’s Britain. The story, infused with the music of Joy DivisionNew Order and The Smiths is being brought to life by site-specific theatre specialists Grid Iron for the 2026 Edinburgh Festival Fringe.
O’Hagan, a three-time Booker Prize nominee, reflects on his formative years in a state secondary school in Irvine, Ayrshire. “There wasn’t a lot of discussion about the work of Schubert going on in our school,” he remarks, painting a vivid picture of his youth.
This setting is crucial to understanding the themes of Mayflies which delves into the camaraderie and struggles of young men growing up in a post-industrial landscape.
Reuniting Old Acquaintances
In the basement courtyard of Whighams Wine Cellars in Edinburgh, O’Hagan sits with musician and sound designer David Paul Jones known as DPJ.
The two, who attended school together, have reunited to bring the soundtrack of Mayflies to life. “I was aware of Andrew,” says Jones, who is a year younger. “His brother was in my year.” O’Hagan adds, “I wish I’d known DPJ better because it would have been nice to know somebody who was moving towards the art world, but it wasn’t that kind of school.”
Their professional collaboration began when Jones composed the music for the National Theatre of Scotland’s 2011 adaptation of O’Hagan’s book The Missing directed by John Tiffany. “DPJ transformed my understanding of what that show could be,” O’Hagan recalls. “The music became so elemental in that production and carried so much of the grief and silence it was trying to get to.”
Theatre as a Character
The stage adaptation of Mayflies will be performed at Brown’s of Leith a former engineering works turned food, drink, and events space. O’Hagan is excited about the unique setting, stating, “The theatre itself will become a character.” He explains that the post-industrial space resonates with the story’s themes, creating a unified experience that transports the audience into the world of the novel.
O’Hagan reflects on the values of the story, rooted in the Thatcher era when Irvine was often described as an “unemployment blackspot.” He notes, “Heavy industry and manufacturing were disappearing before our eyes, and so was the notion of community itself.” The novel captures the sense of vanishing community and the camaraderie that arose from shared alienation and forgetfulness.
Music as the Heartbeat of Mayflies
Music plays a central role in Mayflies with bands like The SmithsNew Order and Joy Division embodying the politics and rebellion of the era. O’Hagan recalls a key scene set at Manchester’s G-Mex a former railway depot that echoed with stories of the past. “Thirty years later I write a novel centred on that experience, and now we come full circle with a dramatised version in another shed,” he says.
Jones has the challenging task of navigating two sonic worlds in the stage adaptation. The first half is a nostalgia hit, while the second half delves into the more internalised tragedy of the characters facing loss. “Memory will play a big part, a ghostly presence,” Jones explains. The hope is that the combination of location, sound, and Grid Iron’s production will bring the remembered world of Mayflies to life.
O’Hagan’s youthful identity was shaped by music, whether watching bands like the Jesus and Mary ChainThe Pastels and Primal Scream at Glasgow’s Splash One club or indulging his taste for experimental and industrial music. “Andrew is much more leftfield than I am,” says Jones. “I was obsessed by the Cocteau Twins, but shamelessly loved Duran Duran.” O’Hagan laughs, “I found my identity among boys who were appalled by the idea of Spandau Ballet.”
The stage adaptation of Mayflies aims to capture the essence of male friendship and the enduring power of music. O’Hagan hopes that audiences will be moved by the incredible human contact and the sense of their own experiences. “If people have a rollicking, brilliant night at the theatre, hear some amazing music and feel themselves moved by this incredible human contact, I’ll be well pleased,” he says.
