Commissioning seven writers to rustle up one play, albeit in six slices, is ambitious. As bold and audacious as famed local legend Robin Hood himself? Absolutely, although the overall impact from the Hoodster crew and their bow-clutching broadside wasn’t entirely on the mark due to the sliced narrative.
However, this New Perspective production commissioned to celebrate the Theatre Royal’s 150th anniversary is nothing if not Nott’s. With the regional writer ensemble eagerly weaving our fine city’s rich industrial history into their patchwork of periods, then riddling it with volley after volley of local references and gags to the glee of the hoodtown audience.
It begins with a wicked volley of songs from amiable medieval minstrel Ed Thorpe, playing both Disney style mandolin strumming narrator and Robin’s go-to sidekick Alan-a-dale. His self-deprecating wit as frustrated city tour guide, mashed up with modern musings on the Robin Hood legend, both endearing and sharp.
Alan leads us in song through six phases of Nottingham history from behind his luxurious beard. Catching glimpses of local lad Robin, Marian and Co. in various run-ins with the villainous aristocratic Sheriff, from the smoke stacks and rampant railways of the Victorian era, through turn of the century streets and silent cinemas, WWII, the swinging 60s concrete explosion, 1980s property madness and on into our own celebrity obsessed times.
Robin is played in fine local tones by Jonah Russell, in Robin as rugged working class hero cum class struggle activist, with occasional bursts of outlaw and plenty of cheek. With a particularly good turn as Robin Loxley 1906 soap box speaking Labour Party candidate and his love interest and suffragette Marian, played with principled diction from Jasmine Blackborow. Plus, back up from newspaper selling tomboy Scarlett (Alex Bedward) and the sometimes sympathetic Post Editor Little John (Ewen Macintish).
Robin’s continued run-ins with privileged aristocrat authority figure Sheriff (Adam Morris) seem more of a nuisance to the slick Sheriff than a battle of equals, although the Sheriff does get some come-uppance eventually. The levels of thigh slapping swashing of buckle seemed a bit held back by our hero not getting very far with the whole class struggle thing, as we lurch between the various periods he’s protesting in.
The short stories had some lovely historical touches, the well lit motion of a train held up on one of the city’s historic lines, an entertaining early silent film sequence on Old Market Square complete with damsel rescue, all in fine costumes. However, while the period short stories were interesting individually they don't weave together well overall, though Alan-a-Dale’s masterful musical skits between periods almost hoodwink you.
Overall I enjoyed it, being a fan of local history and a lover of all things Nottingham, with which this tale of reimagined legends is chock full. Which in my eye's more than makes up for it’s faults. If yer love owd Hood tahn, get yer sehn dahn.
Hood: The Legend Continues plays at Nottingham's Theatre Royal until Saturday 26 September 2015.
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