JOYCE Falconer is not one to raise a hand to block out the political light.

Not when you grow up in an Aberdeenshire fishing village, where your dad earns a tiddler of a wage for working in fish processing unit.

Not when your grandmother is a Scottish conservative. And certainly not when Thatcher’s Britain arrives and dictates the course of your ten year-old life.

“Yes, I’ve always been interested in politics,” says the actress, offering a wry smile.

“I grew up in a poor area (Torry) and I was always aware of the haves and the have-nots.

“I could see the gap growing wider and wider. I was always aware Westminster wasn’t interested in us and of the huge wealth in the oil industry.

“I was aware of the huge extravagance of the industry and that filing clerks could earn more than local tradesmen.”

Joyce adds, grinning; “I also had a granny who was a Scots Conservative. She was a farmer’s wife and it was almost obligatory they’d vote Tory. And I’d listen to her arguments with a Nationalist councillor.”

The political background emerges because the former River City star is starring this week in Oran Mor’s latest political satire show, To Hell and Back, taking Dante's Inferno as loose inspiration.

It’s written by The David MacLennan Collective, (named after the late Oran Mor producer - and inspiration) and performed by Dave Anderson, Brian James, Cat Grozier, Kirstin McLean and Joyce.

“We’re looking at topics such as the fact it’s a year on since the referendum of September 18.

“And we’re reflecting on the psyche of the nation and considering the impact of the General Election and the state of the economy.

“But there’s also the migrant issue, the austerity and of course the power of the corporate world, which is a global issue.”

Joyce adds; “Rehearsals have been great fun, and hopefully that will translate into a great wee show.

“I play the Devil in the show, and the Devil is personified by corporate power.”

Nationalism also rears its head.

“Oh very much so,” she enthuses. “It looks at the hope which emerged before the Referendum and how this is also a global theme.”

Does the show take a pro-Nationalist stance, given the majority of Scots writers – and indeed the Arts community – are Independence mined?

“It probably does,” says the actress, smiling, “but not deliberately.”

Joyce has been passionate about independence since she was old enough to vote.

“I’ve enjoyed watching the movement develop, seeing a lot of people becoming politicised.

“I’m not a member of any political party though but I do believe strongly.

“That’s why last year I stood for ten hours outside a polling booth in Possil.

“I wanted things to change. Yet, although I had hope in my heart, I wasn’t convinced a Yes vote would win out.”

Joyce’s poor background informed - and formed - her politics and her development as a performer.

“We didn’t have a telly in the house as a kid,” she recalls. “That’s why I learned to play instruments and creating puppet shows.

“It was about providing your own entertainment.”

Joyce went on to study at Glasgow’s RSAMD but didn’t join political theatre groups.

“But when I started writing a lot of the material would be political satire or parodies.”

Indeed, her hit biographical play The Tale O’ Fanny Cha Cha, had strong political themes, of migration and slavery.

Although there won’t be too much debate about class struggles when she writes this year’s Dunfermline Alhambra Theatre panto, Aladdin, in which the actress also appears as the Genie.

For now however, Joyce is delighted to be the Devil.

“I think the deep voice and the dark hair has led me to land the baddie roles,” she says, grinning.

But she has does have a bit of the Devil in her, in terms of having a loud voice for social change.

“I certainly hope so,” she says, grinning.

• To Hell and Back, Oran Mor, until Saturday.