Treasure Island (2010)
About the Production
Long before Jack Sparrow was ever dreamt of, an even more irredeemable rogue bestrode the rolling quarter-deck of pirate fiction. A one-legged villain by the name of Silver…
When Robert Louis Stevenson wrote ‘Treasure Island’ in 1883, he created not only the most famous adventure story in the English language, but an entire genre. Maps marked with crosses, buried treasure chests, one-legged seafarers with parrots, tropical islands full of mystery and danger, black spots and ‘Yo-ho-ho’s – all these commonplaces of pirate fiction were entirely Stevenson’s invention. He was writing about a world 150 years before his own time, about which he knew very little. That didn’t stop him writing a thrilling story that also held a wry commentary on coming of age and the ambiguity of morality – in the maimed shape of Long John Silver – unusual for children’s literature both then and now.
In our 40th year, choosing Treasure Island for our summer, open-air production seemed both obvious and fitting. It marks the fourth time we’ve set sail with this tale of derring-do, having done so previously in 1974 and 1989, as well as spoofing it with a panto version in 1995. One tradition has remained throughout, the trademark of TWC. In the absence of female characters (with the exception of Mrs Hawkins) we have the heroes played by women and the villainous pirates played by men. Now that might sound a little strange perhaps, but believe me, it works well.
The songs in this production are traditional sea songs and shanties, a rousing accompaniment for life and adventure aboard the Hispaniola. Several hundred of these traditional songs are known, with literally thousands of versions, many blurred into hybrids of several different songs They formed a constantly evolving oral tradition passed on by seamen around the world during the great age of sail. The songs took their influences from different languages and cultures: from Gaelic and Scandinavian dialect song to Wild West ballads; from the rhythms of the South Sea Islands to Negro Spirituals. They were only ever sung on merchant ships though, not the Royal Navy, who frowned on the practice.
Traditional sea songs divide into two main types: the shanty, a chanted work song with a repetitive chorus designed to help gangs of men synchronise the heavy tasks hauling, heaving or pumping aboard ship, and the foc’sle ballad – songs composed and sung just for entertainment. The divide is far from hard and fast however, and many shanties have, over time, developed a more lyrical form.
Our band for the production, pressganged into service of course, are called ‘Ninepence Three Farthings’. Enjoy.
The Cast
Behind the Scenes
Image Gallery
The Reviews
A Gripping Yarn
Celebrating their 40th anniversary and their 16th year of open air productions, Theatre Workshop Coulsdon (TWC) found themselves in new surroundings at the Coulsdon Manor Hotel & Golf Club – a perfect setting for their production of Treasure Island. For a company renowned for not doing the ordinary, it may have seemed strange for them to be repeating this production for the fourth time in their existence but it certainly appeared to be a popular choice both with the company and audience alike.
This was a wonderful adaptation of Robert Louis Stevenson’s original seafaring adventure, much in the Disney vein of a gripping tale with humorous overtones and TWC’s own inspired twist of having the goodies played by the girls and the villains by the men.
Told in episodic manner, the scenes were nicely interwoven with a feast of traditional sea songs and shanties, delivered from the side stage by their own vocalists and makeshift band ‘Ninepence Three Farthings’.
IMPRESSIVE
Set designer Mike Brown had created a single wooden set piece which proved equally adaptable as the interiors of the Admiral Benbow and Spyglass Inns as well as the fortifications of the stockade on Treasure Island.
Most impressive though, was the transition to the poop deck of the Hispaniola, from the raising of the mizzen mast to the wheeling of the capstan.
Attention to detail was first class, not only in costumes and wigs but also in the plethora of authentic looking propos. Of critical importance was the sound system, which not only gave excellent amplification of the players but also relayed some fine background effects, though I suspect the breeze rustling in the trees was courtesy of nature herself!
COMFORTABLE
It was pleasing to see that under the capable direction of Chris Argles, the large cast of players had all acquired individualistic personas, and all seemed comfortable with their command and interpretation of old colloquial English text.
Of the main characters there were some fabulous interpretations from Hannah Montgomery (Jim Hawkins), Luke Argles (Long John Silver), Richard Lloyd (Black Dog), Dawn Lock (Squire Trelawney), Emma Griffin (Captain Smollett) and Bruce Montgomery (Ben Gunn).
Peter Reed for The Surrey Mirror and Coulsdon & Purley Advertiser
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