Unlikely Pair Tackle a William Wallace Musical
Rob Drummond, a name not typically associated with musicals about Scottish historical figures, is one of the last people you’d expect to pen a musical about William Wallace. Known for steering clear of conventional Scottish themes like bagpipes and Highland cattle in his plays, his creative pursuits have been anything but predictable.
Drummond, a dynamic playwright and actor, has previously engaged audiences in unique ways, such as having them co-create a play during performances of Mr Write; he even risked having a gun pointed at him in his act, Bullet Catch. Additionally, he delved into the dating scene with a live speed-dating event in In Fidelity, explored the dark side of game shows in Quiz Show, and even trained with the Scottish Wrestling Alliance for his show, Wrestling.
These ventures were all delightfully surprising, yet none hinted that Drummond would next explore the life of William Wallace, the Scottish hero immortalized by Mel Gibson in Braveheart. Drummond himself quoted Hitchcock, reflecting on the potential monotony in maintaining a consistent style: “Maybe I’m bored and I want to try something completely different.”
An Unexpected Collaboration
Joining Drummond in this intriguing endeavor is Dave Hook, whose involvement is only slightly less unexpected. While Wallace isn’t Hook’s first foray into themes of cultural identity, his background as a rapper, poet, songwriter, and producer mainly centers around his work with Stanley Odd, a hip-hop group that infuses Scottish elements into the traditionally New York-based music genre.
Hook admits his past projects have often touched upon themes of Scottish identity, culture, and society. “I’ve always been interested in stories and storytelling – and the opportunity to question how we see a story,” says Hook.
Their collaboration on the William Wallace musical seems as improbable as Drummond’s previous adaptation of The Broons, where he introduced existential themes into the DC Thomson comic strip. Drummond emphasizes his goal to entertain: “This is going to be an hour of theatre with jokes, history, fun characters, and incredibly original great new music. There’s nothing not to like about it.”
The production, brought to life by Raw Material at Glasgow’s lunchtime theatre event A Play, a Pie and a Pint, does not shy away from the complex nature of its hero. It promises to recount Wallace’s victory at the Battle of Stirling Bridge and his subsequent execution in 1305 by Edward I of England, while also exploring the line between the man and the legend.
“I’m interested in what it means to be Scottish and whether national identity in any country does more harm than good,” Drummond explains, a sentiment echoed by Hook, both of whom supported Scottish independence. The play starts with a universally recognizable symbol of Scottish pride but quickly evolves to challenge the audience’s perceptions.
Hip-Hop Meets Historical Drama
Drummond and Hook are aware that they are not pioneering the blend of hip-hop with historical narrative, acknowledging the groundbreaking success of Hamilton. They deliberately avoided watching the hit musical to keep their vision uninfluenced. However, they share Lin-Manuel Miranda’s appreciation for the narrative power of hip-hop.
“Hip-hop is folk music with caps instead of cardigans,” Hook humorously notes, highlighting the genre’s ability to convey stories. Drummond adds, “Folk music is about passing down history. But it’s unreliable because of course the next guy is going to add a verse and make it his own. Part of this play is about gently poking the audience, and saying, ‘Is your national hero even real? What was he like?’ We don’t know that much. It was all passed down through folk music.’”
By incorporating a Scottish voice into hip-hop, Hook believes he is staying true to the genre’s political roots. “Hip-hop is a black American art form but it is about local stories. It represents place, space, and origins. For it then to become global was not a homogenisation but a revitalisation of local culture,” he argues.
The infusion of hip-hop not only energizes the narrative but also introduces a playful element to the performance. “Hip-hop is all about wordplay,” says Hook. “That playfulness is infused throughout the whole show.”
The musical, titled Wallace, is set to perform at Oran Mor in Glasgow from September 1-6, and at The Traverse in Edinburgh from September 9-13.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
