by Robin Hood’s adventures in Sherwood are fused with Christmas shenanigans in this musical from playwright and lyricist Chris Bush, who showcased her talents with the award-winning Olivier musical Standing at the Sky’s Edge. Their festive take on the famous outlaw’s story has its moments, but doesn’t do justice to its ability to mix humor with sparkling innovation and upbeat melodies.
The residents of Sherwood feel the bite of austerity, and homeless children wander the woods under the care of Robin Hood (Matthew Ganley) and Marian (Emma Manton). When the sheriff (Andrew Whitehead) comes to drive them from the country and inform them that Prince John (Cameron Eggleston, part of the Rose Young Company) is visiting the Midlands with his sack of gold in tow, Marian hatches a plan to invade his Castle to rob the rich and feed the city’s poor.
While Bush’s children’s series Fantastically Awesome Women Who Changed the World was full to the brim of ingenuity and mischievous humor, this production doesn’t quite nail its crossover elements.
The biggest obstacle seems to be the imbalance between the large group of young actors and only four professionals in the central roles.
As a result, the production directed by Elin Schofield lacks flow and liveliness. Although there are some clever lines, it comes across as wordy and plodding, with some actors being too wooden and static when they speak. At times it has the slightly fatal feeling of a school play.
Bush’s songs are ballad-like and whimsical, some rather short, with guitar, flute and violin accompaniments that together seem thin and a little too soberly anthemic. Some voices are stronger than others, and the cast is at its best singing familiar Christmas carols.
There is a Christmas forest deer named Rudolph, a beautiful puppet that is lit from within but is particularly underused. And the sheriff has a too-sudden transformation that has a Scrooge-like redeeming effect but is unconvincing. It also allows Prince John and his band of spendthrift aristocrats to escape without closure or compensation.
Robin as a character seems distant and featureless. Marian is bold, but doesn’t quite have the room to go anything more than generic.
There are songs that spark sparks, like “Wassail,” and others with strong, spirited messages, including the opening number “Much” (“Take a breath and stand firm,” sings Marian), and it is in these moments that the musical reveals its promise. It’s a shame it’s not maintained.
• Until January 5th at the Rose Theater
