Outlaws - A Robin Hood Story
- Richard Evans
- 1 day ago
- 2 min read
Kieran Lynn
Storyhouse Chester
Grosvenor Park Open AIr Theatre, Chester
July 15-August 23, 2026; 2hrs 15mins
Outlaws - A Robin Hood Story is a reworking - not surprisingly - of the legend of Robin Hood, but without a trace of Lincoln Green or men in tights.
This fresh adaptation is a pleasing departure from versions that often focus on the archery contest to win a golden arrow. Grosvenor Open Air Theatre's new production incorporates the sort of ingredients the open-air audience has come to thoroughly appreciate: plenty of audience interaction, telling one-liners directed at the audience and inviting some viewers on stage to see if they can join in (or make fun of themselves, either works).
But this is a slightly more serious production, one with a definite political point. So in many respects this is an absorbing production that holds your attention and grows in tension as the story develops.
Robin the Hood and Little John are a partnership, to start, robbing from the rich to give to the poor. The stakes are raised when a new, highly competent Sheriff of Nottingham is appointed prior to an impending visit from King John. Robin recruits his Merry Men - sorry women: Alana, Scarlett and Much, before organising a daring heist from the King, inevitably bankrupting him and forcing him to meet his barons and sign the Magna Carta, reducing his power. Robin can't achieve this nation-building exercise without unexpected help, chiefly from the feisty Maid Marion.
All members of the cast are excellent. Annabelle Aquino as Marion dominates the stage at times and David Ahmad as King John is suitably despotic. Kate Milner-Johnson demonstrates several layers in her portrayal of Marion’s mother Rose, and of course Lawrence Hodgson-Mullings as Robin and Perry Moore as Little John carry the story. The characterisation generally is highly appropriate and well thought-out. The story is accompanied by music that apes folk traditions but uses modern songs, to good effect - ending on Springsteen's Dancing in the Dark was particularly apt, since the sun was going down at the time. All instruments are played by cast members, who move seamlessly from acting to playing.
Though, to my knowledge, there is no basis in history for Robin’s actions forcing King John to sign the Magna Carta, the notion offers a powerful political point.
“There is no rule of law, just the will of the KIng” was stated pointedly at one stage, forcing the hand of a surprisingly conciliatory Sheriff to aid Robin rather than see him hang - making the point that truth and justice are integral to law, and no person - even a King - is above it; perhaps something a few modern politicians could remember.
There is a focus on women’s rights, too. No woman here is helpless or demure. All have substance to their character and often take on traditionally male roles.
Once again, in its 16th year, the Open Air Theatre has come up with a memorable production. Aided by a bit of sunshine, a slice of pizza and a glass of wine, medieval politics unusually offers a hugely enjoyable evening.
More info and tickets here
