Robin Hood and the Christmas Heist

Stand and Deliver

Robin Hood and the Christmas Heist

by Chris Bush

Rose Original with the Rose Youth Theatre at the Rose Theatre, Kingston until 5^th January

Review by Viola Selby

It’s that time of year again!  Oh no it’s not!  Oh yes it is!  The time where we get to sit through panto after panto, often overly hammed up and saturated with forced jokes, feathers and sequins.  Well, all I can say is thank Santa for Chris Bush’s incredible writing, brought to life by director Elin Schofield!   Robin Hood and the Christmas Heistis a play that not only encapsulates the very heart of Christmas in such a natural yet surprising way, but is filled with so many twists and turns, that it takes the audience on an emotional Sleigh Ride! 

Throughout the play, Anisha Fields’ design is simple and beautiful, allowing the audience to focus more on the action.  However, through the effective use of props, sound (by Annie May Fletcher) and lighting (by Jai Morjaria) the audience are transported between Sherwood Forest and the Sheriff’s castle seamlessly.  Although there are so many visually breathtaking scenes to pick from, my particular favourite is the castle heist, where Robin and some of his outlaws are trying to break into the castle by going down the chimneys, as Marian and the others distract the castle guards through wassailing.  This scene is done in such a way, through the use of spotlights and timing, it is almost like film noir meets Johnny English! 

A prop, or should I say character, who lights up the stage and truly adds to the magic of any scene he is in, is Rudolph the great stag, brilliantly designed by Matthew Forbes and made by Oliver Hymans and Naomi Oppenheim.  Rudolph moves so naturally and with such character, that Forbes’s design is just like that of the Handspring Puppet Company’s War Horse mastery. 

But the biggest surprise is just how unbelievable the acting is!  Never have I been more impressed with a youth group.  Their energy and perfect portrayals of their characters made this a four-dimensional story that had the whole audience weeping, laughing and fully involved in the tale.

The cast itself is just twenty-four members, yet due to their adaptability, especially Viola Johnson, Edison Kemp, Joseph Kirwan, Evie Orsmond, Nico Ozag and Isobel Whurr, who effortlessly bounce between playing both outlaws or guards and lords and ladies, the cast feels so much bigger and the stage fuller.  Louie Mckillop has to be one of the most hilarious Prince Johns I have seen, his comedic timing with his jumps and screams, his tones and overall jittery body language made this sometimes overlooked character a nervous yet weirdly relatable star.  Then there is Amelia Forster who is the sweetest Sprout.   Her solo was pitch perfect and very moving, and her character’s kindness even to the evil Sheriff also seemed so natural and genuine. 

Speaking of which, no review of a Robin Hood tale would be complete without mention of the Sheriff and boy did we get THE Sheriff!  Andrew Whitehead’s performance is both hilarious yet dark and twisted … with a past.  His occasionally camp and often ostentatious characterisation both made the audience love to hate him that little bit more, and added to one of the top musical numbers of the whole performance New Broom, which truly is a Chicago cum Cabaret-esque treat!  Whitehead also has amazing chemistry with Emma Manton’s marvellously and maternally played Marian, Ellie’s Searle’s superlatively strong willed Scarlett and Matthew Ganley as Robin Hood, who does a great job at showing Robin’s sincerity, political opinions and dry humour, in a way that bounced well of the other characters.  Yet even with all his evilness, Whitehead’s portrayal made the sheriff’s character arch one of the most touching developments, and one that will warm even the coldest of hearts.  It didn’t feel pushed or simple and really highlighted what Robin Hood and this festive season is all about, and was the catalyst to the biggest twist of the whole story – but I won’t spoil it for you now! 

Finally, and what really makes this play stand out is the marvellous musical numbers, masterfully made by maestro Matt Winkworth.  Using traditional Christmas songs, Winkworth then changes the lyrics to meet what is happening in that scene.  For example, instead of Bethlehem, they sing ‘O little town of Nottingham’.  Although this may sound corny, Winkworth’s skill with lyrics and music as well as the superb voices of all the cast and musical talents of Matthew Gantely on guitar, Jodie Cuaresma as Much on guitar and Emma Manton on flute make for some real toe tapping and cleverly choreographed (by Olivia Shouler) pieces!

This is a hearty, fully festive treat for all the family and all the senses, perfectly performed by a brilliant cast and crew and one not to be missed!

Viola Selby, December 2024

Photography by Mark Douet