By Roddy Slorach
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The Majority—an inventive format is wasted on a dismal message

This article is over 6 years, 5 months old
Issue 2568
Rob Drummond in his play The Majority
Rob Drummond in his play The Majority (Pic: Ellie Kurttz)

Rob Drummond’s new one-man play is supposed to be about the Scottish independence referendum.

Drummond tells us at the start that he will ask, “How did we get here—and how do we get out of it?”

Much of what follows concerns his friendship with the eccentric socialist Eric, who he first meets in Glasgow’s George Square the day after the referendum defeat.

Their absurdist story takes in Nazis, nationalists, refugees—and bee-keeping.

All this is really a means for Drummond to put a series of increasingly awkward moral propositions to his audience. Each of us were directed to answer yes or no using electronic pads.

Unfortunately the content of the play doesn’t live up to the promise of the imaginative set-up.

It’s unclear how the dilemmas presented relate to the referendum.

Despite a record voter turnout in the independence poll, Drummond tells us that he didn’t vote.

And the play even implies that his was the right choice.

The point seems to be that life’s important issues aren’t a matter of “yes” or “no” binary choices—but that’s how things are presented to us.

There’s some humour and sharp observations along the way, but the play’s message is contained in a phrase by Drummond’s Tory-voting mother.

“The feeling that you have when you are in the right is exactly the same as the feeling that you have when you are in the wrong,” she says.

This is followed by an appeal for more nuance and mutual understanding between left and right.

As Drummond’s socialist friend Eric would no doubt have concluded—what a pile o’pish.

The Majority
National Theatre, London SE1 9PX
Until 28 August

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