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    Home » Treasure Island review – swashbuckling musical is shipshape and Bristol fashion | Theatre
    Theatre

    Treasure Island review – swashbuckling musical is shipshape and Bristol fashion | Theatre

    December 14, 20252 Mins Read
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    Treasure Island review – swashbuckling musical is shipshape and Bristol fashion | Theatre
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    It’s all aboard this Christmas with Jake Brunger and Pippa Cleary’s musical version of Robert Louis Stevenson’s novel, starting at a storytelling festival in a Bristol pub. Comedian Jayde Adams, as the landlady, welcomes us with the familiar jesting of her standup sets: “Alright, let’s get to know the room …” Eventually, the tale takes hold and time zips back to the 18th century, where bright-eyed, 13-year-old Jim Hawkins, reimagined here as a girl and played by Adryne Caulder-James, dreams of following in her late father’s footsteps and setting sail.

    Familiar jesting … Jayde Adams in Treasure Island. Photograph: Johan Persson

    Luckily for her, that’s the way the story goes. Jim assembles a motley crew of sailors to search for the treasure once hidden by notorious pirate Captain Flint. Unbeknownst to them, they are joined on the ship by Long John Silver (a cackling Colin Leggo) and his evil posse, desperate to steal the gold for themselves. This sets the stage for an adventure crammed full of double bluffs, backstabbing and swashbuckling sword fights.

    Cleary’s compositions, with lyrics by her and Brunger, are nothing short of a hoot. Performed by an athletic chorus of actor-musicians, the soulful, sea shanty-inspired melodies are rousing. Caulder-James has a voice like warm mist and her high, belted notes are the stuff of wonder. Elsewhere, Adams, playing multiple roles in her stage acting debut, becomes a quivering castaway, Benita Gunn, who has befriended the island’s singing puppet coconuts.

    They are just one of many inventive creative choices from director Paul Foster, whose production shrieks with life. A lifesize puppet parrot, controlled by Adams, squawks and flaps with glee. The set, designed by Tom Rogers, unfolds to reveal an enormous pirate ship, complete with lower and upper decks, cascading ropes and a ship’s wheel. We even get the chance to join in for a sing-song.

    At the centre of it all is a love for Bristol. With the narrative bookended by scenes in the city, and near-constant references for those in the know woven into the script, it feels like a proper local celebration. There are no Christmas carols here, but this adventure leaves you with a warm, seasonal glow.

    At Bristol Old Vic until 10 January

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