Tag Archives: Amy Conachan

TREASURE ISLAND

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Royal Lyceum Theatre

TREASURE ISLAND at the Royal Lyceum Theatre

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“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 β€œreformed 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 β€œreformed 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 mumβ€”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 β€œhome” to a ship at sea, and the ultimate destination, a β€œtreasure” 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. ItΒ 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, β€œX” 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 β€˜β€œX” 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

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Henry I

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Reading Abbey Ruins

HENRY IΒ  at Reading Abbey Ruins

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Henry I

“a stand-out exemplar for other locally-rooted companies wishing to make drama that speaks compellingly to their audiences”

 

When Game of Thrones and other big budget spectaculars grab the headlines and audiences, how can 900 year old stories be brought to the stage in a way that will speak to modern audiences? This is the challenge with which Reading based company Rabble have been engaged since their founding in 2012.

This latest production is their biggest yet. Based on a show that premiered in 2016, it follows the life of King Henry I of England from the moment his father William the Conqueror died in 1087, to his own death 48 years later. This is raw and visceral theatre. The writing is not cod historical but vivid and gripping.

Eleventh century lives were short and men’s war-making was brutal. But this play is also feminist to its core, placing women at its heart, both in casting women actors in male roles and in depicting the pivotal roles women played in the story.

Rabble’s vision is also community-based and often site specific. Over 500 members of the local community were involved in bringing this epic to the stage. It sits in a sequence of linked history plays the company have developed. They appear amongst the professionals in the show and continue to be involved in workshops around the play which tours to Winchester and the Actor’s Church in London after its Reading run. In Reading it is performed in the ruins of the great abbey Henry I built to expiate his memory, and where he lies buried. There’s a further frisson. The final scene is performed on the very spot where the events depicted occurred.

Beth Flintoff’s Henry I uses a rich variety of story-telling techniques to bring a great swathe of history to dazzling life. Characters speak directly to their audience about their future. Climactic crowd scenes play out in slow motion with compelling lighting effects by designer Michael Brenkley. Many of the costumes by Sarah Jane Booth are a lush riot of satin and velvet and her spare set suits the full-on and physical drama to a tee.

Amongst an outstanding cast, Toby W Davies is excellent as Henry I. Whilst some other characters occasionally veer close to parody, he gives a compellingly real performance of vulnerability and struggle amongst all the rabble-rousing. Georgie Fellows is his queen and Mabel. Like the exceptional Amy Conachan (Adela Countess of Blois), she gives a blisteringly feisty performance of a woman at the heart of the action.

Greg Barnett is a wonderful embodiment of lip-smacking evil as Robert de Belleme. Mark Middleton is a peevishly inadequate brother to Henry and has some moments of fine comedy. Gabrielle Sheppard cuts a swaggering dash as William Rufus and William Atheling. Anjelica Serra gives an equally energetic and compelling performance in this high octane show that delighted the first night crowd. Joseph Black has huge stage presence as Bishop Roger and Conran.

Many other performers give wonderfully energetic and committed performances in this brilliant show which is a warmly recommended triumph for Rabble. It is also a stand-out exemplar for other locally-rooted companies wishing to make drama that speaks compellingly to their audiences. Congratulations to Director Hal Chambers for bringing this production to such electrifying life.

 

 

Reviewed on 15th June 2023

by David Woodward

Photography by Alex Brenner

 

Further dates:

12th – 15th July 2023
Winchester Great Hall, Winchester

20th – 22nd July 2023
St Paul’s Church, Covent Garden, London

 

 

 

Previously reviewed by David:

 

Hedda Gabler | β˜…β˜…β˜…β˜…β˜… | Reading Rep Theatre | February 2023
Cybil Service | β˜…β˜…β˜…β˜… | VAULT Festival 2023 | January 2023
Barefoot in the Park | β˜…β˜…β˜…β˜… | The Mill at Sonning | July 2022
Spike | β˜…β˜…β˜…β˜… | Watermill Theatre Newbury | January 2022
Dorian | β˜…β˜…β˜…β˜… | Reading Rep Theatre | October 2021

 

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