Hamilton

Wallace

10/08/25

Traverse Theatre, Edinburgh

“The Scottish can’t rap!”

Thus proclaims one of the three-strong cast of Wallace, shortly before they launch into their opening salvo and prove that – hell, yes – they really can! This intriguing production, which launches the autumn season of A Play a Pie and a Pint, is obviously inspired by the success of Hamilton. It proudly proclaims that Scottish history is just as deserving of a contemporary retelling as anything that ever went on in the USA and, in that ambition, it succeeds big time.

Three friends chatting over drinks in a bar become extra-animated when one of them claims to be an actual descendent of William Wallace – you know, the guy from Braveheart. This is the precursor to a deep dive into the hero’s history, as the three players musically discuss the known facts, the probable myths and even the possibility that (whisper it) WW might not have existed.

Written by Rob Drummond, with music and lyrics by Dave Hook (who also performs alongside Patrica Panther and Manasa Tagica), Wallace offers an audacious exploration of Scotland’s most celebrated warrior, all backed by a pumping four-four beat. The trio of performers switch effortlessly between characters merely by throwing on a jacket or a hat, depicting Wallace’s supporters as well as those who fought against him in his doomed bid for Scottish independence.

Hook stays in the role of Wallace, while Tagica does a splendid job of portraying Edward Longshanks, complete with dark glasses and a red fur coat. Panther, after pointing out that women have been virtually written out of history, takes on the swaggering persona of Robert the Bruce with evident relish.

Whip-smart, caustically funny and actually pretty informative (I come out knowing a lot more about the titular Scot than I previously did), Wallace snaps from song to song and from argument to argument like the proverbial tiger on vaseline, holding the audience spellbound right up to the final triumphant chord. Snappily directed by Orla O’Loughlin, this is a perfect example of how to make history vibrant and compelling enough to dazzle a contemporary audience.

It’s pure dead brilliant.

5 stars

Philip Caveney

tick, tick… Boom!

20/11/21

Netflix

Lin Manuel-Miranda is having a bit of a moment. After his breakthrough with Hamilton, it was perhaps inevitable that we’d be seeing a lot more of him, but, close on the heels of the filmed adaptation of his first theatrical endeavour, In the Heights, here’s his directorial debut. And, just over the horizon, lurks the Disney animation he’s created the music for – Encanto.

It would be hard to imagine a more appropriate director for tick, tick…. Boom! Here, the second musical by the late Jonathan Larson is turned into a production that’s about as meta as you could ask for: a show about a show about the creation of another show, Larson’s debut production Superbia. This adaptation of George Orwell’s 1984, was something he spent eight years of his life working on, but was destined to be seen by only a handful of people.

It’s hardly a spoiler to point out that Larson was the creator of Rent and that he died tragically of an aneurism, at the age of thirty-five, the night before its premiere. The show subsequently went on to enjoy a twelve year run on Broadway, and won countless awards.

When we first encounter Jonathan (Andrew Garfield), he’s trying to write a song for Superbia and, like any real genius, he’s suffering for his art, eking out a precarious existence in his down-at-heel flat. He’s trying to maintain a troubled relationship with long-suffering girlfriend Susan (Alexandra Ship), and he’s working at a local diner earning the pennies to fuel his dreams of success. His best friend, Michael (Robin de Jesus), who he’s known since childhood, throws over his own long-nurtured ambition of becoming an actor and goes into the world of advertising, reaping himself a beautiful high-rise flat into the bargain. He offers Jonathan a way in to that world but Jonathan is adamant.

He will achieve his dream, whatever the cost.

Tick, tick… Boom! is all about the pain of artistic endeavour – the pursuit of success at all costs – and, inevitably, because we know what’s waiting for our hero a few years down the line, the whole enterprise seems shockingly accentuated. Brilliantly staged and easily accessible, TTB wastes no time in its setup but flings us headlong into Larson’s world. We see his story as presented by him and his fellow performers as a kind of rock-opera-workshop. The songs are accessible, the lyrics witty and relevant and Garfield is exceptional in the central role, piloting us to the dizzy heights and awful depths negotiated by any artist trying to be heard.

Those fearing that this will be unbearably ‘arty’ can relax. This is a story that covers all of the emotions from exuberant to poignant, and it would be a flinty heart indeed that doesn’t warm to a tragic tale of youthful genius that comes into flower just a moment too late. The spectre of AIDs hangs heavy over the proceedings – and, as some of Larson’s closest friends succumb to the illness, we begin to understand how Rent came to fruition.

‘Write about what you know,’ advises Larson’s elusive agent, Rosa (Judith Light). So he does – and finally finds the story that’s been eluding him for so long.

This is a delightful film, one that will strike chords with anyone who has striven to create art of any kind. Yes, there’s a deep vein of melancholy running through its heart, but just look and listen. There’s joy here too.

4.4 stars

Philip Caveney

Hamilton

15/01/21

Disney +

Yes, I know, I know. What took us so long?

Well, I’ll be absolutely honest. I had some trepidation about watching this and most of it can be attributed to one three letter word. Rap. I haven’t previously been known for my appreciation of that musical form. Furthermore, I’m also unashamed to say that I’d never heard of Alexander Hamilton until Lin Manuel Miranda’s celebrated musical took the world by storm. But, finally here it is on Disney +, just waiting for me to get up the courage to press the button. Eventually, I can put it off no longer…

And of course, there is a large helping of humble pie waiting to be consumed. And while some of this most assuredly is rap – even in my ignorance, I picked up on a brief homage to Grandmaster Flash and the Furious Five – for the most part it’s an assured musical packed with memorable songs and some swaggering performances.

Alexander Hamilton (Lin Manuel Miranda) was an American statesman, politician , military commander, lawyer, banker and economist. (But what did he do in his spare time, you might ask?) The musical follows his progress from eager student to influential founding father; it marks his first encounters with Aaron Burr ((Leslie Odom Jnr), and his time as right-hand man to George Washington (Chris Jackson). There’s his romance and marriage to Eliza (Phillipa Soo), his platonic relationship with her sister, Angelica (Renée Elise Goldsberry), and his skirmishes with Thomas Jefferson (Daveed Diggs). Whenever things threaten to become a tad too serious, up pops Jonathan Groff as a simpering, preening King George, to lament about the loss of his colonies, accompanied by a jolly, bouncing melody.

After some initial reluctance, I find myself increasingly drawn into the story. It’s a complicated one that lends itself surprisingly well to the disciplines of the form. It’s interesting to note that when Shakespeare’s plays were first produced, they were performed in iambic pentameter, the voices strictly tied to the rhythm, which is, in a way, what Miranda is doing here, the different vocal exchanges perfectly judged and executed.

And, while it’s mostly about the songs and the incisive wordplay, there are also plenty of theatrical flourishes to catch the eye, excellent ensemble choreography, superb costumes and some astute stagecraft. Hamilton looks like a class act and that also contributes to its success.

So, yes, I’m glad I finally watched this and also I’m pleased that I learned something about an era of American history I previously knew little about. Strangely, with everything that’s happening in the USA right now, maybe I saw it at exactly the right time.

4.2 stars

Philip Caveney