Colours Run ****

Sometimes it's what’s not being said that holds the most power.

Mikey Burnett’s Colours Run leans heavily into the “kitchen sink drama” movement of the 1950s and 60s, portraying the struggles of working-class angry young men.

The production is set in a Leith flat, where brothers Pongo (Ruaraidh Murray) and Pete (Sean Langtree) cohabit. Both are Hibernian football fans, with Pongo a member of the hooligan firm the Capital City Service, whose motto, “These colours don’t run”, gives rise to the play’s title. The Hibs–Hearts Edinburgh derby may lack the deep-rooted sectarianism seen in Glasgow, but the rivalry is historic, and violent skirmishes between the rival firms occur frequently – usually away from the stadiums.

Pongo returns home after a premeditated stramash with Hearts fans. His hand is bloodied, but his body language suggests something is troubling him more profoundly. Pete is coaxed into the lounge, his feelings hurt by not having been invited along. Pete has learning difficulties and is a simple soul. Pongo is unemployed (or “self-employed”, as he sardonically quips), but his main role in life is taking care of Pete. Their mother died young, and the brothers are all each other have.

Pongo reveals he did not even make it to the match, as the encounter with the Hearts fans got out of hand. He is agitated, pacing the room and frequently checking the front door.

It becomes clear that Pete cannot fend for himself, with Pongo controlling virtually every aspect of his life. Some of their backstory is revealed: domestic abuse, Pete nearly dying as a child, and a father who is still despised. The squalid flat, the baseball bat and general debris all point to their quality of life – Leith’s gentrification has not reached everyone. But it’s their rituals that are more revelatory: Who Wants to Be a Millionaire?, the cornflake counting, the dancing, the music and Pete donning his mother’s dress.

Increasingly, there are hints of disturbing and traumatic events from their past, but today’s events threaten to break their fragile ecosystem and pierce their clear brotherly love.

The performances of both actors are nothing short of a triumph. Langtree’s exuberant portrayal of Pete, constantly seeking reassurance and approval, is in stark contrast to his cosplaying as the host of the quiz show. It’s a most impressive range. But it’s Murray’s brooding, simmering rage, resentment and frustration that really catch the eye.

At the core of Colours Run is the electric chemistry between the two brothers. And here, much credit for this production goes to director Grace-Ava Baker. Murray’s silences, pauses, stillness and barely contained rage have been honed to perfection, with Langtree’s fragility laid bare. It could easily be a homage to Pinter.