With a wink and a nod, the Iola Community Theatre has turned a classic fairy tale on its ear as it brings “Robin Hood and His Merry Men: A Comedy in Two Acts” to the Bowlus Fine Arts Center this weekend.
While most are familiar with the standard Robin Hood folklore — a rebellious archer steals from the rich and gives to the poor, much to the chagrin of the fiendish Prince John and his key enforcer, the Sheriff of Nottingham — there’s plenty to keep the audience in stitches (and suspense) with the ICT version.
In this version, King Richard is away fighting in the crusades, leaving his brother, Prince John, in charge.
And the prince is more than willing to see things done his way, including decrees that citizens pay weekly taxes or face the penalty of death, courtesy of the dastardly Sheriff.
And, as power hungry titans are wont to do, Prince John quickly bores of seeing his pockets filled, and must have more. So, he sets his sights on marrying Maid Marian. (Whether she wants to marry him is irrelevant, he argues, because it’s his official decree, and thus must happen.)
But a downtrodden populace has learned of Robin Hood, a noble hero whose strength and bravery are seemingly legendary. (With an emphasis on seemingly.)
Naturally, as Robin Hood’s legend grows, Prince John and the Sheriff hatch a plan or two to capture Robin Hood and his band of merry men (who are mostly girls, by the way.)
Can Robin save Maid Marian from Little John’s clutches? Will the sheriff and his henchmen foil the incoming insurgency?
Find out at 7 p.m. Thursday and Friday and 2 p.m. Saturday in the Bowlus Auditorium. Tickets sell at the door for $10 for adults and $5 for students.
Mike Marsh shines as Robin Hood, who notes from the outset his mythical reputation may not quite live up to expectations.
You see, Robin isn’t quite the ruggedly handsome and swashbuckling type they envisioned. (Even Prince John mistakes him for Peter Pan when they first meet.)
Nevertheless, the quick-witted Robin has a few tricks up his sleeve to stay one step ahead of his pursuers. Speaking of Prince John, the incomparable River Hess takes great pleasure in portraying a sadistic villain, with just a hint of oafishness.
Likewise, “Scowling” Stacie Smail is equally brilliant as the brutal, intimidating Sheriff of Nottingham, cracking the faintest hint of a smile only when she knows she has the upper hand on her enemies.
And Rhi Jordan brings plenty of leading-lady panache as Maid Marian, who swears she has fallen in love with Robin Hood as she learns of his plans to rescue her — even if she hasn’t actually seen him yet.
DIRECTOR Alison Fees has a sterling supporting cast at her disposal as well.
Wayne Stephens and Jacob Cooper are uproarious as Friar Tuck and Little John as they quickly bond with Robin Hood over a duel, not by swords or arrows, but with a thumb war. (Yes, really!)
Katie Jo Knoblich is brilliant as Matilda, whose allegiance to the sheriff is frequently tested by an over-sized crush on Robin.
Newcomer to the ICT scene Logan Belknap, likewise, offers plenty of comic relief as Kevin, Prince John’s henchman.
Lucas Hurlock, another newcomer, is worth a laugh or three as Duncan, who is itching for an adventure alongside Friar Tuck and Little John.
Dan Davis plays two roles with aplomb, primarily as narrator, where he occasionally has to prod the actors from scene to scene, and later as King Richard, whose return from the Crusades comes at the thrilling conclusion.
Making full use of their time on stage are Shellie Barnett, Tiffany Hurlock, Amanda Belknap, Piper Jordan, Monica Gayle Wright and Amanda Easley as Robin’s band of Merry Men Women, or as various ladies in other scenes, while Shannon Simpson and Sandy Hardwick sparkle as Nottingham citizens.
Last, but not least, young Winston Jordan gets plenty of stage time as the production’s “stage manager.” He’s eager to help move along the narration, and to remind the audience of pending scene changes.
The play is set up so actors frequently break the fourth wall, and occasionally learn of plot twists alongside the audience by simply reading ahead in the script. (Of course, the last page of the script is missing, so the ending remains a mystery to them as well.)
Overseeing it all is Fees, whose direction keeps the story moving at a brisk pace, even with missed cues aplenty, and redoing scenes if they’re not up to the performers’ satisfaction — yes, on purpose. Heck, there’s even a slow-motion fight to enjoy, twice.
The legend of Robin Hood has been around for centuries, and remains culturally relevant still today, whether it’s from the Errol Flynn era, through the prism of a Disney cartoon, to more recent renditions offered up by Kevin Costner or Taron Egerton.
The Iola Community Theatre’s presentation, too, warrants a spot on the pantheon of legendary performances — at least in this neck of the Sherwood Forest.
To see additional photos of the ICT production of “Robin Hood and His Merry Men,” click here.
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