By BRIAN BEACOM

THE fact Willie McIlvanney’s 2004 play On The Sidelines is being tributed this week at Oran Mor is cause for celebration.

The tale of the newly divorced John Mitchell coming to terms with his changing life and relationships is full of poignancy and humour.

However, the performance team behind the production suggests Play, Pie and a Pint fans are in for something extra special.

Actor Iain Robertson is again reunited with film director Gillies MacKinnon.

Gillies first took the actor under his wing 22 years ago when he starred Govan-born Iain in cult Scots film, Small Faces.

More recently, the pair were reunited on the re-make of Whisky Galore.

Yet, while in the past the director called upon the services of the young actor, this time around the roles were reversed.

“When I heard I was playing the role in this play I asked Gillies if he would be interested in directing me,” says Iain.

“Thankfully he said yes.”

Gillies was delighted to be reunited with his chum.

“We have a delightful shorthand,” he says, smiling. “And it’ a great challenge. I’ve never done theatre before.

“Bobby Carlyle once said you have to do theatre at least once before you die, and here I am.”

The play is based on Willie McIlvanney’s play, the Walking Wounded.

“It’s my favourite of his stories,” says Iain. “Willie once told me it’s a true story of the divorcee John Mitchell (in the shorty story the character was called John Hannah) who lives in a bedsit. And while it may sound depressing it’s not at all.

“The story continues to reveal how he meets a woman who has a Wendy House . . . “

“You’re not going to reveal the story of the Wendy House!” says his director, smiling as he gently chides his star.

“No,” says the actor, now restrained.

The audience will have to wait to discover what the Wendy House has to do with the story.

But what the pair do reveal more detail of the themes of the monologue.

“The title comes from the character watching a football match in which his son is playing,” says Gillies. “John feels he is on the sidelines in life.”

Iain Robertson, who is himself divorced, can relate to the character.

“Easily,” he says, succinctly. “For me to get into the character, I use my own emotional memories and let them in.

“Gillies really helped bring that out. As for playing a character on the sidelines, I can remember being in a relationship with a girl and thinking I had to get out of it, that it was going nowhere and I was waiting for my life to begin.

“I’ve taken part of that and brought it to the character.

The play will appeal to both sexes. Women will gain an insight into the male psyche. And men, who are less likely to talk about the impact of relationship break up (the play is set in 1978, when feelings rarely surfaced) will empathise.

“When John tells the truth he is quite aggressive with it,” Iain offers.

“It’s this west of Scotland thing; if I’m going to tell you something which makes me look vulnerable it will be delivered with a mask of aggression.”

Gillies adds; “John is asking a lot of questions, trying to sort out where he is with his kids and his new lover whom he adores.

“And we have real sympathy with him because he’s not feeling sorry for himself. He’s struggling with his thoughts.”

Gillies acknowledges there is a huge difference between directing film and theatre.

“In theatre you have to kick off with a rhythm and a beat and carry it all the way through and of course you have to consider how the actor reacts with the audience, which of course we don’t do in film.”

The actor and director’s relationship transgresses form. Iain cites Gillies’ use of the likes of Green Onions references.

“He’ll give me a note saying ‘You know that first section? Well, it’s Green Onions. And then when it goes slower it’s Sitting On The Dock of the Bay.”

Gillies laughs as he explains the shorthand; “In the Sixties all bands started a gig by playing Green Onions. (The 1962 R&B tune by Booker T & the MGs.) It took the audience into the mood. And then they progressed to more nuanced material such as Dock Of the Bay.”

Iain agrees; “Once a writer tried to give me a note on the woman I was playing, saying; ‘She’s sexy. Like Margaret Thatcher was sexy. Do you know what I mean?’ And I said ‘No. I never thought she was ever sexy.’

“But I knew exactly what Gillies meant by ‘This is Green Onions.”

• On The Sidelines, Oran Mor, until Saturday.