Based on the award winning 2018 film of the same name by Nicole Taylor, Wild Rose has line danced its way to the stage. The musical follows the dreams of Rose-Lynn Harlan (Dawn Sievewright), a single mother of two, and an ex-convict, from Glasgow. She’s on a mission to find her “three chords and the truth”. The set may well be nearly 5,000 miles from Nashville, but we are certainly at the core of jacket fringes and ride ‘em high rhinestones of the Grand Ole Opry. The Scottish version. Govan Road, to be precise.
Uplifting and spirited
With music from country greats, such as Dolly Parton and The Chicks, the narrative navigates the desperation of following dreams against the pull of parental responsibility while coherently weaving through those country (not Western!) lyrics of love, loss, and longing. Sievewright is country vocal personified. Twang, clarity, and authenticity.
Blythe Duff embraces the role of Marion, the dependable granny of Rose-Lynn’s two children, Wynonna and Lyle (Lily Ferguson and Alfie Campbell). The family dynamics are real. Hurtful truths and conflict are underpinned with charming Scottish sarcasm that indicates endearment, and nobody does it better than the young Campbell. Duff’s harmonies are beautifully compelling, and the family song, Peace In This House (Kaset/Gill) is moving. Ferguson portrays Wynonna’s anguish with conviction. Yet there is no mention of the absent male parental roles and everything falls to the responsibility of the matriarch.
Under the meticulous direction of John Tiffany, transitions are seamless and Chloe Lamford’s set design is simple and functional. Who doesn’t love a breakfast bar that doubles up as a stage to dance on? All the best parties happen in the kitchen after all…
Which is also where the clash of the classes happens. The excitable middle-class Susannah (Janet Kumah) hires Rose-Lynn as her cleaner. She is friendly but patronising and verging on exploitative. Kumah, however, softens this with tongue-in-cheek humour. Susannah’s inconsequential working-class husband Sam (Peter Hannah) warns Rose-Lynn, “she loves a project”. Despite Hannah’s brilliant adaptability, it's unfortunate this character lacks substance.
The build up is long but the arrival in Nashville is swift and with three clicks of her cowgirl boots, we’re taken back to Glasgow (No Place Like Home); a song that could have anthem status as much as The Proclaimers.
This isn’t a foot stomping country musical but will capture your heart.
