19/08/2026
We’re delighted to share with you this review of our production of Treasure Island, written by Roderick Chappel for the The Victorian Drama League Inc.
A huge thank you to the Victorian Drama League and to Roderick for taking the time to see the production and share his thoughts with us.
Have a read and discover what the VDL had to say about our swashbuckling adventure! 🏴☠️⚓:
REVIEW
I probably read the book ‘Treasure Island’ when I was a boy, but recalled little about it before seeing this theatrical version at The 1812 Theatre. I did remember the existence of a one-legged seaman called Long John Silver, and I knew the first verse of the stirring sea shanty, ‘Fifteen men on the dead man’s chest’.
Scottish-born Robert Louis Stevenson (1850-1894) published ‘Treasure Island’ in 1883. His prolific literary output, before his early death in Samoa, included the adventure novel ‘Kidnapped’ and the Gothic horror novella ‘Strange Case of Dr Jekyll and Mr Hyde’.
Pirates in the age of sailing ships are now a distant memory, and now that we no longer have to fear pirates, we can enjoy them. Stevenson has been credited with helping to popularise pirates as a source of entertainment. His famous book has been dramatised and adapted in multiple ways. This theatrical version is by American playwright Ken Ludwig (born 1950), whose output also includes ‘Lend Me a Tenor’, ‘Moon Over Buffalo’ and ‘The Game’s Afoot’.
‘Treasure Island’ tells a dramatic story set in the 18th century. Young Jim Hawkins is the son of the innkeeper of the Admiral Benbow Inn, on the coast of south-western England. His father dies early in the play. Jim comes into the possession of a map, formerly belonging to the surly ex-pirate Billy Bones (Andre Ayton), who had served under the notorious pirate Captain Flint. This map showed where Flint had buried his treasure on a distant island.
Jim shows the map to Dr Livesey (Hannah Sleeth), a magistrate, and to Squire Trelawney (Matthew Flint). They charter the schooner ‘Hispaniola’, engage a crew, and set out under Captain Smollett (Chris Isaac) to seek the treasure. Jim Hawkins goes as the cabin boy. Later, however, the crew of the ‘Hispaniola’ mutiny, under the leadership of Long John Silver, the ship’s cook. That gives an initial idea of the story, but there is much more to it than that.
The set was designed by Amy Walker, the stage manager, and Erin O’Hare, the director. The main set, revealed to the audience when the curtain opened, was impressive; we looked upstage from the deck of the ‘Hispaniola’ towards the stern. The upstage superstructure, into which there was a door, added possibilities. To mask the ship and create indoor locations, a wall folded in from each side of the stage.
The play’s plot was conveyed to the audience, to a great extent, through the boy, Jim Hawkins, who both plays his central role and serves as a narrator. Jim’s narration was essential for maintaining parts of the story. I may have missed some details of what happens, because of its complexity, the number of characters, and the necessity for some actors to play multiple roles. However, this did not significantly reduce my enjoyment. I think that there is a challenge with any play which is based on a story – from a book, a film, or television – with which many in the audience are already familiar. How much can we assume, or do we assume, that the audience already knows?
A cast of twelve actors played nineteen roles. Acting was of a high standard. Accents were – with perhaps one exception – very good; they supported the reality of the story without being overtly “piratical” or stagey. The rebellious crew often acted as an ensemble, within which, nevertheless, individuals were well differentiated, both by their costumes and by the behaviours of their characters.
I can only mention a few individual cast members. Jim Hawkins was portrayed with great energy and flair by a young actress, Anastasia Swadling. Another outstanding performance was from Felix Green as Long John Silver. Long John’s character is central to the story. (In fact, Stevenson’s book was originally titled ‘The Sea Cook: A Story for Boys’.) Although he leads the mutineers, his character is nuanced, and he develops a bond with Jim Hawkins. I was glad when Jim was able to do Long John a bit of good in the end.
A further lovely performance was by James Banger, one of whose two roles was as the eccentric marooned pirate, Ben Gunn. This character, together with Jim Hawkins, gave Act 2 a brilliant start.
The impact of the play was enhanced by imaginative use of lighting and sound, the use of a cyclorama, and good costumes. Atmosphere was created and sustained with sea shanties. Sound design was by Tom O’Hare and Erin O’Hare, and lighting design was by Robin Le Blond. I imagine that the complexity of the play, the large cast, and the number of roles, could have presented challenges backstage, but everything appeared to go smoothly. Stage Manager Amy Walker was assisted by Lauren Athanasiou.
I was very impressed with the weaponry, including what I interpreted as various muskets and flintlock pistols. Despite the obvious absence of real bullets, these fi****ms played a significant part in the story, and the sounds of multiple shots had to be skilfully timed.
The 1812 Theatre deserves praise for staging a play with particular appeal to a young audience. Productions like this may help to develop young people into lifelong theatregoers, but perhaps this focus may deter older theatregoers from coming. The performance that I saw – the second – did not have a very big audience. Many of those who were present belonged to a single large group of young people with an evident piratical enthusiasm; noticing them at interval, they seemed to be having a great time.
Despite its youthful appeal, however, this production deserves a full adult audience. Although it is essentially an adventure story, it is good theatre on many levels. I remember moments of moving interpersonal drama, conveyed with feeling and exquisite timing. I might not have gone to see ‘Treasure Island’ had I not been asked to review it, but I really enjoyed it.
Director Erin O’Hare, the large cast, and the many in offstage support, deserve credit for a quality production, imaginatively designed, and with general audience appeal.
