Robin Hood’s adventures in Sherwood are fused with Christmassy shenanigans in this musical by playwright and lyricist, Chris Bush, who has proven her talent with the Olivier award-winning musical, Standing at the Sky’s Edge. Her festive spin on the lore of the famous outlaw has its moments but does not live up to her gift for mixing humour with sparky innovation and snappy tunes.
Sherwood’s residents are feeling the bite of austerity, and children roam homeless in the forest, under the care of Robin Hood (Matthew Ganley) and Marian (Emma Manton). When the sheriff (Andrew Whitehead) comes to drive them off the land and inform them that Prince John is visiting the Midlands with his sack of gold in tow, Marian cooks up a plan to infiltrate his castle, in order to rob the rich and feed the town’s poor.
Where Bush’s children’s show, Fantastically Great Women Who Changed the World, was filled to the brim with invention and mischievous humour, this production does not quite nail its crossover elements.
The greatest hindrance seems to be the imbalance between the large company of young actors (from the Rose Young Company) to just four professionals in the central roles.
The production, directed by Elin Schofield, lacks flow and vitality as a result. Although there are some clever lines, it feels wordy and ponderous, with some actors too wooden and static as they speak. It has the slightly fatal feel of a school performance at times.
Bush’s songs are balladic and whimsical, several rather short, with guitar, flute and violin accompaniments that together feel thin and a little too soberly hymnal. Some voices are stronger than others, and the cast is at its best when singing well-known carols.
There is a Christmassy stag of the forest, called Rudolph, who is a beautiful puppet, illuminated from inside, but is peculiarly under-used. And the sheriff has a too sudden transformation that brings a Scrooge-like redemptive quality but it is unconvincing. It also lets Prince John and his band of profligate aristocrats off the hook, with no closure or comeuppance.
Robin, as a character, seems side-lined and featureless. Marian is ballsy but isn’t quite given the space to become anything more than generic.
There are some songs that spark, such as Wassail, and others with strong, spirited messages, including opening number Much (“Draw breath and stand your ground,” sings Marian) and in these moments the musical reveals its promise. It is a shame it isn’t sustained.
