Tag Archives: Dominica Plummer

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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CINDERELLA | ★★★★ | FESTIVAL THEATRE | November 2024

TREASURE ISLAND

TREASURE ISLAND

Click here to see our Recommended Shows page

 

CINDERELLA

★★★★

Festival Theatre

CINDERELLA at the Festival Theatre

★★★★

“a spectacular night out with family and friends in a familiar venue hosted by our favourite stars”

If it’s glitz, glamour and banter performed by local talent, Edinburgh’s own Cinderella is the panto you’ve been looking for. The Crossroads Production of this much loved Christmas favourite has something for everyone, whether you’re a glamorous gran or a sleepy babe in arms. There won’t be any time for naps or time outs though, because this is a show where everyone gets involved, thanks to the experienced crowd management talents of Allan Stewart (Faerie May), Grant Stott (Baroness Hibernia Fortuna) and Jordan Young (Buttons).

Panto has long been an Edinburgh tradition, even if familiar names and faces retire from time to time. The traditional venue changes from time to time as well. This year’s production is at the Festival Theatre while the Kings Theatre (affectionately known as the Old Lady of Leven Street) undergoes a face lift. This 2024 Cinderella is heavy on tradition too, with familiar jokes about politics at Holyrood, and the state of play at the Hibernian Football Club down the road in Leith. Towns outside Edinburgh are lovingly mocked, but local scandals are also given brief airings, much to the delight of the crowd. In short, this is Panto as it used to be done, with a hefty tribute to music hall traditions, and its variety show talents. This includes some updated songs with the magnificent voices of Cinderella (Amber Sylvia Edwards) and her Prince (Will Callan).

Fabulous. But what about the plot of Cinderella? All the familiar elements are there, including a bit of backstory about how our heroine came to have a horrible stepmother and two ugly stepsisters. Prince Charming is very charming indeed and not above sneaking out of his palace to meet his love in places less stressful than a huge ball with everyone looking on. In this version, an upwardly mobile and career oriented Cinders aims for a job as Royal Advisor to the Prince. There are a number of similar updates, but this is still recognizably Cinderella. But make no mistake: Edinburgh’s Cinderella belongs to Faerie May (aka The Fairy Godmother). If there’s one weakness to all this updating, it’s that the story of Cinders and her Prince is barely sketched in. But given the number of elaborate costume changes that have to take place, it’s not surprising that Faerie May, the villianous Baroness and the ever cheeky Buttons have the lion’s share of time on stage.

But we’re here for a spectacular night out with family and friends in a familiar venue hosted by our favourite stars. And this Cinderella delivers spectacle in spades. There’s Faerie May’s star spangled descent from the rafters at the beginning of the show, and an eye popping end of the first half involving real ponies and a pumpkin carriage. The even more sparkly grand finale does not disappoint— one could attend this production in full ballgown and tiara and not feel overdressed. But it’s the comic talents of Allan Stewart as Faerie May that keep this show down to earth and accessible to all. Whether it’s putting Cinderella at ease, or dealing with a delightful seven year old girl from the audience upstaging him while his back is turned, Stewart shows that panto experience is key, and age is only a number. Grant Stott as Baroness Hibernia owns the stage with his incredible costumes and an attitude to match. And Jordan Young as Buttons pours such energy into his trademark “Hiya Paaaals” that some local business should probably bottle it and make a fortune. All this, and the show still has a Cinderella (Amber Sylvia Edwards) and a Prince Charming (Will Callan) who manage to hold their own despite all the mayhem going on around them. With supporting players Clare Gray and Gail Watson as the Ugly Sisters, and Iain Stuart Robertson as Baron Hardup, Cinderella has a talented and sympathetic ensemble who know exactly how to play to an Edinburgh crowd.

This Cinderella is a show that knows its community, and plays to it well. So if you’re looking for something unique to Edinburgh and its holiday traditions, this Scottish flavoured panto has plenty to please.


CINDERELLA at the Festival Theatre

Reviewed on 26th November 2024

by Dominica Plummer

Photography by Douglas Robertson

 

 

 


 

 

 

 

More reviews from Dominica:

U-BU-SU-NA | ★★★★★ | THE CORONET THEATRE | November 2024
LYNN FACES | ★★★ | EDINBURGH FESTIVAL FRINGE | August 2024
ASSEMBLY HALL | ★★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024
THE CROW, (THE PRINCESS), AND THE SCULLERY MAID | ★★ | EDINBURGH FESTIVAL FRINGE | August 2024
OEDIPUS REX | ★★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024
THE MARRIAGE OF FIGARO | ★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024
NIGAMON/TUNAI | ★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024
SUITCASE SHOW | ★★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024
KAFKA’S APE | ★★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024
INSTRUCTIONS | ★★★ | EDINBURGH FESTIVAL FRINGE | August 2024
JULIETA | ★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024
GRUPO CORPO | ★★★★★ | EDINBURGH INTERNATIONAL FESTIVAL | August 2024

Cinderella

Cinderella

Click here to see our Recommended Shows page