Written by Rob Drummond
Music and Lyrics by Dave Hook
Directed by Orla O’Loughlin
Review by Charlene Friar
The idea that the story of Scottish legend William Wallace could be told through hip hop is absurd, insane and, as Wallace the Musical proves, somehow works.
Written by Rob Drummond and Dave Hook, Wallace the Musical was first shown as part of A Play, A Pie and A Pint in 2025, and returns to the stage bigger and better. It tells the story of the historical figure, among others, asking provocative questions that have floated around since Mel Gibson first screamed freedom. Was Wallace a hero? A villain? Was he even real or just a myth created to give the English someone to fight? Instead of turning this into a boring history lesson, the production team tear into these questions while also bringing to the forefront the women who were also part of the story but had been cast aside in favour of the men out fighting.
The tone is established quickly, mixing broad comedy with genuinely powerful emotions. One scene in particular sums it up perfectly.
“He’s a hero!!”
“Ok, what’s he done?”
“…. Heroic shit.”
Scottish humour and satire run effortlessly throughout the show.
The female cast, Kimberly Mandindo, Madeline Grieve and Patricia Panther, all cast as Wummin’, are incredibly talented and blend well vocally; however, Grieve stands out with her hilarious one-liners and comedic timing which make her impossible to ignore when she is on stage. Her energy can completely change the scene with one perfectly timed look towards the audience.
Ross Mann (Scotsman) is the standout star of the show, playing his character’s devotion to his Scottish hero incredibly well despite the wummin’ dismantling him piece by piece. His loyalty to his hero is both hilarious and heartwarming as the show goes through different stages of his life.
Manasa Tagica, as Sassenach, also makes a strong addition to the show, bringing to life several different people from history such as Edward Longshanks whom he manages to make surprisingly human. He breaks down the stories from the Battle of Stirling Bridge to the eventual execution of Wallace, moving easily between characters. Tagica and Mann play off each other brilliantly and never let the comedy fall into slapstick silliness.
The hip-hop score is fun and energetic; however, the speed of the music mixed with intermittent strobe lighting can feel overwhelming at times. The lyrics are simple and catchy, which works well for engaging with the audience, although some numbers are more effective than others. The slight disappointment is the lack of Wallace himself, played by Hook. He pops in and out with a motivational speech then disappears back behind the DJ booth. Giving Wallace more dialogue could help bring the man, not simply the legend, more fully to life.
What really stands out is the cast’s commitment to the material. They throw themselves into the characters and bring a fun, chaotic energy that the audience really warmed to. Cheers of patriotism were heard regularly throughout and the show ended with a standing ovation from the almost sold-out crowd.
Wallace the Musical is not subtle, but it doesn’t try to be. It is loud, funny, very proudly Scottish while still finding room to question how history is written, who gets remembered and who gets pushed aside. An enjoyable watch that will have you putting on a kilt, reaching for the blue face paint and belting out Flower of Scotland on your way out.
Loud, Funny, and Proud
Wallace runs at The Pavilion Theatre, Glasgow, until 26th September before touring
Running time: One hours and forty minutes with interval
Photo credit – Sally Jubb
Review by Charlene Friar (contact@corrblimey.uk)
Charlene Friar is a Scottish screenwriter, reviewer and podcast host with an MA in TV Fiction Writing. She writes about film, television and theatre, and hosts Before the Credits, interviewing people working across the screen industries. She is also developing a slate of original film and television projects, with upcoming review work for Launch magazine.
