Wallace musical review: History unfurled
An extended version of the original show aims to deconstruct our national myths
Scotland has an addiction to nostalgia. And it isn’t healthy. Between the shortbread tins, Jimmy hats, and mile-long foray of tartan tat stores stands a blue-faced man to blame: William Wallace. And writer Rob Drummond and musician and lyricist Dave Hook have got something to say about this freedom fighter and villain as well as his impact on Scottish culture and identity. After a successful run as a one-act show in A Play, A Pie And A Pint, Wallace has doubled in length and cast, and doubled down on deconstructing the mythos of national heroics.
Paying tribute to the black American originators of hip hop, while forging its own style, Raw Material’s production restages an epic rap battle of history (this time with a budget) between Wallace, King Edward and a third challenger: one arguably more deserving of the historical spotlight. Ross Mann, Madeline Grieve, and Kimberly Mandindo join the original cast of Hook, Patricia Panther and Manasa Tagica on this expansive set, with an unnerving, suspended stag looming and a plethora of blinding stadium lights to capture gig culture.
A strong cast plays various historical roles with the newcomers doing tremendous work in evolving the show: Mann’s near-zealous fanaticism for Wallace echoes Drummond’s own shifting thoughts on the man. Grieve and Mandindo bring thunderous energy to the production as the women who need to make it clear that history and truth are far from inseparable, while Tagica’s return is welcomed as an ever-growing presence in Scottish theatre. Transitioning to a bigger stage, Wallace pushes its ambition but it needs tightening; a lengthened state having diluted the impact, particularly in pacing. The weakest links (Wallace’s on-stage depiction and a two-act structure) disconnect what was previously punchy and plucky. But there’s little doubt it has the tenacity and resilience to build a powerful production.
Wallace, King’s Theatre, Edinburgh, Wednesday 30 September–Saturday 3 October; reviewed at Pavilion Theatre, Glasgow; picture: Sally Jubb.