Robin Hood: The Legend. Re-written. – Regent’s Park Open Air Theatre

Picture: Pamela Raith

Robin Hood: The Legend. Re-Written. continues at Regent’s Park Open Air Theatre, London until 22 July 2023.

Star rating: four stars ★ ★ ★ ★ ✩

If there is any truth to the folk legend of Robin Hood, it is surely violent, bloody and revolutionary. The idea of outlaws attacking and stealing from the wealthy for the benefit of an oppressed lower class is perennially compelling, but it is too often sanitised in popular retellings. Thank goodness for Regent’s Park Open Air Theatre and its commitment to reintroducing some edge throughout this thrilling and somewhat feminist production, written by Carl Grose and directed by Melly Still.

Now, “edge” doesn’t have to mean gritty realism of course. This show has plenty of humour and meta-theatricality, to the point it often swerves into panto. As the tale proceeded to its climactic moments, the audience was even moved to spontaneously whoop and jeer along. It is a fun show, and very frequently a silly show, but it is also one that might shock. The violence is explicit and bloody, the language is profane, the drug references are ubiquitous, and the socio-political messaging is sharp and loud.

If you are concerned that it might not be appropriate for your children who have been begging to go see it: take them anyway. The open air setting goes a long way to minimise potential trauma by framing this very clearly as theatre. Kids love extreme violence and swearing, and the horrified look on your face as a concerned parent might be enough to convince them that they are getting away with seeing something a bit naughty. This may be many young people’s introduction to theatre as something more than Disneyesque sweetness and light.

This friction between grown-up themes and slightly childish presentation might prove a sticking point for some. I had a great time at the show and I believe it absolutely got away with the mix. However, those who see the violence and assume it’s an adult show might be confused by the silliness. Likewise, more conservative attendees who assume it’s just for kids based on the chaotic, panto vibes might bristle at some of the content.

Regent’s Park Open Air Theatre has included extensive parental advisory notes on their website and please do read those if you have concerns about taking young children – especially those who might be sensitive about knife-based violence. On balance though – and maybe I will be a terrible parent whose children will grow up to be absolute monsters – I think there is plenty more here to delight than traumatise.

Music has always been integral to the legend of Robin Hood, with some of the earliest retellings being in the form of folk ballads. It is wonderful to see that tradition continued here with live songs and scoring by musical supervisor Jenny Moore. Though not a full book musical, the pounding drums and haunting vocals of Nandi Bhebhe as the Balladeer/Jenny are a key part of nearly every scene.

If you have visited any Regent’s Park Open Air Theatre production in the last few years, you will know that the set and lighting work is always at least interesting, and frequently beguiling. This visual feast is no exception. Chiara Stephenson’s stage design not only features a revolve, but it is also multi-level, providing a smart visual metaphor for the class war played out. Zoe Spurr’s lighting is of course at the mercy of the elements, but as the evening drew in and darkness descended, her intelligent work became more and more powerful. Scene changes fly as fast as an arrow – literally signalled by a “swoosh” – and with colour and contrast, Spurr draws our attention to where it needs to be.

The cast is a joy to spend time with. Dumile Lindiwe Sibanda draws us into the story early on and becomes such a relatable and likeable presence that it is a shame her character is given slightly less to do towards the end of the piece. Fortunately, attention shifts to the also wonderful Ellen Robertson’s fierce Marian and her tumultuous relationship with the wicked Sheriff of Nottingham, Alex Mugnaioni: a deliciously camp and commanding villainous presence throughout the show.

Elsewhere, Stephanie Marion Fayerman elicits a lot of this evening’s big laughs as the sassy villager Betty, while Ira Mandela Siobhan’s Gisburne swings between stoically imposing and comically unhinged so violently, his presence is at times quite unnerving. The crowd’s favourite during this particular performance, however, might just have been Paul Hunter’s frequently drugged and buffoonish but always thoroughly loveable King.

Robin Hood: The Legend. Re-Written. is fun and knockabout, but also has a lot to say about power and property in an unpretentious and occasionally powerful way. It’s not Chekhov, but it’s not CBeebies either. The suggested audience age is 10-plus, and I can easily see parents being just as thrilled by the bold feminist reinvention, the chaotic silliness of the presentation, and the genuine stage magic as their children will be by the naughty words and gore.

Ian Bowkett