In a humorous yet straightforward exploration of societal tensions, the play “Ready tae Drap” finds three disparate individuals trapped in a malfunctioning lift within a Glasgow high-rise. The production, filled with lively and comedic moments, sometimes lacks depth in its character portrayals.
The cast includes Pat, a cantankerous conspiracy theorist in her seventies, portrayed by Isabelle Joss, who delivers sharp and unsolicited remarks. Tinashe Warikandwa plays Aaliyah, a weary Muslim mother expecting her third child. The character of Lauren, played by playwright Éimi Quinn, serves as a millennial narrator, breaking the fourth wall while dressed in fishnets and bunny ears for a hen party. The premise sets the stage for an unlikely alliance among these varied personalities during a challenging situation.
However, true camaraderie remains elusive. Quinn’s lively script juxtaposes contrasting comedic styles with underlying themes of discomfort and bodily humor, often drawing laughs that are as bold as Lauren’s preferred drink. The confined setting of the lift, enhanced by Heather Grace Currie’s succinct design, allows for a dynamic and physical direction by Maureen Carr that emphasizes the actors’ comedic interactions. Pat’s humorous recounting of her post-menopausal experiences leaves both Aaliyah and Lauren astonished, much to the delight of the audience at the Òran Mór.
Yet, amidst this comedic chaos lies a more serious issue. For much of the performance, Pat’s underlying racism is presented in a subdued manner, though a sharply crafted line about events in Glasgow’s city center resonates with the audience before devolving into overt xenophobia. When Pat finally unleashes a harsh tirade against migrants, aimed at Aaliyah—who she claims she doesn’t wish to offend—the characters feel somewhat one-dimensional, lacking depth. Pat’s background is more fleshed out compared to Aaliyah’s, who is relegated to a vague narrative about her refugee experience in Glasgow. Meanwhile, Lauren, the audience’s connection to the unfolding drama, dozes off during the exchange.
Upon awakening, Lauren faces her own disconnection as Aaliyah and Pat confront her about her reluctance to have children, but her response is disappointingly brief, taking less time than the trio spent joking about hen party paraphernalia.
“Ready tae Drap” adeptly acknowledges that superficial conversations won’t mend the widening divides in society. However, despite its candid approach to life’s less glamorous aspects, it shies away from delving into more profound emotional truths.
This production runs at Òran Mór in Glasgow until September 5.
