Tag Archives: Alex Berry

TREASURE ISLAND

★★★

Royal Lyceum Theatre

TREASURE ISLAND at the Royal Lyceum Theatre

★★★

“They are as talented a bunch of pirates as you’re ever likely to see on the high seas”

This year’s holiday season offering at the Lyceum Theatre is an adaptation of Robert Louis Stevenson’s story of piracy on the high seas, and buried treasure. Adapted for the stage by Orkey based writer Duncan McLean, and directed by Wils Wilson, a talented cast of six launch a modern version of Treasure Island set in Leith, in a home for “reformed pirates.”

Scottish writer Robert Louis Stevenson’s classic tale, written in the nineteenth century, has been adapted countless times for film and television. These are the obvious choices of media for a story that ranges across vast distances, and with a large cast of memorable characters. By modernizing Stevenson’s story, McLean tackles both the difficulty of adapting Treasure Island for the stage, and reducing the number of characters to a manageable size. In a home for “reformed pirates”, we meet a contemporary version of the boy Jim Hawkins, who has been left in charge of a bunch of unruly pirates. To pass the time, they tell a story of their swashbuckling days. The cast of six take on various roles, including pirates, a castaway, Jim’s mum—and let’s not forget the puffin. McLean has cleverly updated Long John Silver’s iconic parrot to a bird well known to Orkney Islanders. The puppet puffin plays a major role. This version of Treasure Island is presented in a dramatic form that will be familiar to fans of Kneehigh Theatre. So there’s plenty to look at as the cast deftly goes about transforming the space on stage. From a pirate “home” to a ship at sea, and the ultimate destination, a “treasure” island, the cast are constantly on the move, and that includes climbing up and down a variety of multi-purpose ladders.

The cast themselves are very representative of a modern theatre company. The role of Long John Silver has been transformed into Lean Jean Silver, and Amy Conachan brings all of Silver’s memorable villainy to her interpretation, as she wheels herself nimbly around the stage. She has a lovely singing voice too. Jim is played by Jade Chan, and the rest of the company Tim Dalling (Ben Gunn), TJ Holmes (The Laird), Itxaso Moreno (Billy Bones) and Dylan Read (puppeteer for The Puffin) not only act, but sing and play a variety of musical instruments. They are as talented a bunch of pirates as you’re ever likely to see on the high seas. Set and costume designer Alex Berry has made an equally versatile creations for the actors to play in. Tim Dalling’s compositions range from hearty pirate songs to plaintive ballads. And the puppet designers, directors and makers (Ailsa Dalling, Sarah Wright and Julia Jeulin) have created a delightful puffin who will charm audiences of all ages.

In spite of the updates, though, McLean’s adaptation falls short. It is too long for the slender premise of telling stories to prevent pirates from backsliding into their piratical ways. There is too much of an assumption that the audience is familiar with the novel. And it’s true that Long John Silver’s parrot, “X” marks the spot, and any number of phrases from Stevenson’s classic novel have passed into common usage. Though these days, audiences are more likely to associate ‘“X” marks the spot’ with Indiana Jones, rather than Jim Hawkins. This version of Treasure Island compresses the plot, as it has to do, given the length of the novel, but not in a way that clarifies the story. Moving the action to Scottish locations doesn’t help all that much. McLean’s Treasure Island is still Jim Hawkins’ story, but Jim himself has been transformed from a boy in search of a father figure after his own has died, to a boy who has to take over running his absent mother’s home for reformed pirates. Somehow, it’s not quite the same.

Treasure Island is a bold choice of a show for a theatre wishing to move away from more conventional Christmas fare, but audiences looking for something that celebrates the holiday spirit may feel that this show would be better saved for another time of year.


TREASURE ISLAND at the Royal Lyceum Theatre

Reviewed on 29th November 2024

by Dominica Plummer

Photography by Jess Shurte

 

 

 

 

 

 

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TREASURE ISLAND

TREASURE ISLAND

Click here to see our Recommended Shows page

 

SHIFTERS

★★★★

Bush Theatre

SHIFTERS at the Bush Theatre

★★★★

“There are some lines of devastating simplicity that do a huge amount of emotional heavy lifting, showing off Lombe’s accomplishment and skill”

This hugely charismatic commission from the Bush Theatre toys and teases audiences’ hearts, not least down to the sparkling performances from actors Tosin Cole and Heather Agyepong. In many ways, this is a classic tale of young love being overtaken by other events in a similar model to Constellations, but writer Benedict Lombe adds depth through sensitive handling of grief, race, and the choices that push people apart.

Dre (credited as short for Dream – Cole) and Des (Destiny – Agyepong) have much in common. We meet them as 32 year olds, reunited after years apart, before tracking back to them first colliding as teenagers. Both are displaced from South London to an unnamed regional town where they are two of the few Black kids in their school. Dre drags Des into debate club, setting up their dialogues for the rest of the piece which encompass discussions on the nature of first love, the possibility of alternative worlds and free will, and the baggage from their families which is both a privilege and a burden.

Their conversations are sharp, filled with jousts and barbs, always managing to find an angle against each other to explore. Lombe’s script is packed, the quips constantly keeping up the pace, though in the final third more space is left around the text, allowing moments of silence and reflection before another sharp comment moves the scene along again. There are some lines of devastating simplicity that do a huge amount of emotional heavy lifting, showing off Lombe’s accomplishment and skill.

The direction of Lynette Linton is largely playful and naturalistic. The opening scenes are played for comedy, Agyepong doing an impeccable bit with her mouth full of puff puffs (or beignets, depending on who you’re asking). In more significant moments, small physical movements become imbued with meaning which becomes clearer as they are replayed time and time again: this emphasises the dizziness and entrapment of strong memories.

“Cole and Agyepong have real acting pedigree”

Staging is simple, bars of neon light framing a traverse stage which is empty except for four small black boxes ordered neatly at the edge. As the piece progresses, more of these boxes are introduced, an effective physical reminder of the clutter of memories. Lighting (Neil Austin) switches colours to indicate scene and timeline changes, then flickers subtly through the final scenes as tension comes to a head. Music effects are used well to recall tinny playbacks of old tracks on old phones, but when used as transition the balance is sometimes off, with it overwhelming the first few lines of speech.

Cole and Agyepong have real acting pedigree, and move around the stage freely, whether acting out teenage cringiness, or circulating each other as they explore what is beyond friendship. The magnetism of their connection feels inescapable from the off, and it is impossible to not root for them individually and together. They also do excellent impressions of the offstage characters, who never appear in their own right but have huge influence over Des and Dre.

The ambiguous ending felt appropriate and a sophisticated choice, though the denouement overall felt a little rushed. Maybe that was the point, that consequences can hinge on tiny sentences said or unsaid, especially when one character’s opportunity to move away intersects with another’s fear of abandonment. Still, with neither character having many palpable flaws it was hard to believe that this was all it took for the relationship to fall apart.

This aside, Shifters is a deeply perceptive sophomore piece from an undeniably talented writer, lovingly acted by the superb Cole and Agyepong.


SHIFTERS at the Bush Theatre

Reviewed on 23rd February 2024

by Rosie Thomas

Photography by Craig Fuller

 

 

Previously reviewed at this venue:

ELEPHANT | ★★★★★ | October 2023
RED PITCH | ★★★★ | September 2023
PARADISE NOW! | ★★★★★ | December 2022
THE P WORD | ★★★ | September 2022
FAVOUR | ★★★★ | June 2022
LAVA | ★★★★ | July 2021

SHIFTERS

SHIFTERS

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