WILD ROSE | ROYAL LYCEUM, EDINBURGH
★★★★
‘A hunner’ pound! A tile!’
Every country western song has heartbreak somewhere in its genetic make-up and this Wild West hoolie of a musical follows that tradition, even if the Wild West in question is Glasgow’s Priesthill, where where we find aspiring Grand Ole Opry star Rose-Lynn Harlan returning home after a year banged-up for supplying heroin.
A gallus tale of dreams, family and responsibility, Wild Rose, receiving its World Premiere at Edinburgh’s Royal Lyceum, is a wonderfully uplifting evening of laughter, tears and good ol’ country music.
Making the transition from prison routine to resuming life as a mother of two doesn’t come easily to Rose-Lynn, whose kids now look to their Granny Marion for love and affection. With an ankle tag confining her to home between the hours of 7pm to 7am, her dreams of returning to sing at Glasgow’s Grand Ole Opry are soon put on hold… until her new employer, Susannah, hears her singing and decides to champion her cleaner’s ambition to perform in Nashville’s Mother Church of Country Music. It’s unexpected support that forces Rose-Lynn to reassess her priorities in life.
Without doubt this production is driven by Sarah Travis and Davey Anderson’s peerless orchestrations and arrangements. Their toe-tapping, hand-clapping blend of country and rock keeps the energy high as the story unfolds and if one to two songs briefly outstay their welcome and, on occasion, prove a challenge vocally for those delivering them, the exuberant eight-piece house band are always on hand to save the day.
Nicole Taylor’s astute book is excellent too. It may be a tried and tested formula (bad girl dreams of big things, loses sight of her priorities, only to find herself and discover what and who really matter to her) but it’s nonetheless an emotional roller-coaster. With an ear for a cracking line, a sharp turn of phrase, and just a hint of parody, her dialogue captures the spirit of Glasgow’s denizens bringing a raft of instantly recognisable characters to life.
Leading an incredibly talented ensemble cast, Dawn Sievewright is a little dynamo in the title role and seldom offstage. She brings an infectious cheek to Rose-Lynn, a ballsy, boisterous, gobby gal who is her own worst enemy.
Blythe Duff, as her exasperated mother, is quite brilliant as Granny Marion. Duff boasts a priceless stillness and commanding presence in a performance that is by turn warm, loving, frustrated, despairing and angry, yet always caring. If she is the backbone of the Harlan family, so too is she of the production. Her rendition of Peace In This House, a tender, poignant masterpiece, is heart-achingly good.
And talking of family, Lily Ferguson and Alfie Campbell as Rose-Lynn’s neglected kids, Wynonna and Lyle, are excellent, the latter delivering a barrage of one-liners with comic timing beyond his years. Elsewhere, Liz Ewing, is in wonderful form. As Agnes the inmate, Mary the cleaner, and The Judge, she delivers faultless comic relief in each scene she appears through a series of hilariously crafted cameos. Peter Hannah also proves a versatile turn, bringing no fewer than five disparate characters to the stage.
Dominated by a gigantic digital screen and Lewis den Hertog’s colourful, eye-catching video design, Chloe Lamford’s set combined with Jessica Hung Han Yun’s lighting is gorgeous to behold and although John Tiffany’s direction would benefit from being a tad tighter, there’s little doubt that Wild Rose is a musical destined for great things. Indeed, you could well imagine it turning up on London’s West End at some point in the future – it certainly wouldn’t be out of place.
So, grab a ticket while you can, don your cowboy boots and get ready to give it your best, ‘Yeehaw!’
Ends 19 April, tickets here.
