Running at Theatre Royal Bath from 29 November to 11 January, and directed by Jennifer Jackson, this new production Robin Hood adapted by writer Daniel Bye is a must see this Christmas period.
Meet Rob, a runaway on the run from the Sheriff’s vile soldiers, struggling to survive in Sherwood Forest. But things take an unexpected turn when he stumbles upon a Very Merry Band. Together, will they unite to fight for justice and freedom?
In this thrilling new adaptation of the Robin Hood legend, award-winning writer Daniel Bye (hailed as “one of the most astute and stylish contemporary theatre makers” by The Stage) brings a fresh, energetic twist to the classic tale. With the spirit of youthful rebellion and the quest for a fairer world at its heart, this is Robin Hood like you’ve never seen before.
We spoke with Director Jennifer Jackson about this current production.
• What unique vision or interpretation do you bring to this classic tale of Robin Hood for the Christmas production?
Jennifer Jackson: I love The Egg Theatre; it’s such a unique space with an incredible offering for young audiences. When I was approached to direct this new version of Robin Hood, I was thrilled. After talking with the writer, Dan Bye, I was struck by his interpretation of the story. He focused on the relationships within the merry band, which felt fresh and new, even though it’s such an iconic and familiar tale.
As a theatre choreographer and movement director, I wanted to bring a bold physicality to Sherwood Forest and push the boundaries of what we can do in The Egg’s space. We’re having a lot of fun mixing medieval and modern images—characters engage in medieval dances, epic movie-style fights, and some beautiful storytelling. At the core, it’s about a group of young people who overcome their fears, build new bonds of family, and ultimately change the world.
• How do you approach the development of key characters in the story, and what themes do you hope to highlight through their arcs?
Jennifer Jackson: I work closely with Dan in the run-up to rehearsals to explore the characters, but once we get into rehearsals, the actors really bring their interpretations to the story. For me, the relationships between the characters are everything. We want the audience to care about them and understand their motivations. Rehearsals are a time for us to discover that together.
In this version, we explore how the merry band forms and grows into the characters we know from the myth—though in a surprising and exciting way. One of the key themes we explore is how the adult world tries to define young people’s roles, often without their consent. In our story, Robin is wrongly accused of hunting a stag, which leads to him being cast as an outlaw—something that happens to him by others’ judgment, regardless of whether it’s true. This idea of power, and how it shapes our lives and our rights, is something children can relate to, especially as they navigate the dynamics of authority in their own lives.
The story shows how Robin’s actions lead him to form a new family in the forest, including Marian, Much, and John. Together, they become the outlaws of legend. It’s thrilling to watch the creation of Robin Hood as mythology unfold. It’s a story about reclaiming ownership over one’s narrative, facing an unstoppable force, and finding new ways to share leadership. The band’s journey—navigating power, whether from the King or the Sheriff—is part of a larger arc that feels deeply relevant today, especially as we witness the uncertainty and power struggles in the world right now.
• How do you plan to make this production engaging for audiences of all ages, particularly children?
Jennifer Jackson: The play is full of humor and joy, so I think younger audiences will really enjoy it. In our version, Robin, Marian, Much, and John are younger than in traditional adaptations, which gives the story a fresh dynamic. Robin arrives in the forest, on the run from the law, and sets off a chain of events that brings the group together. The fact that these are young people facing power and injustice is something that children can really connect with.
Children, in particular, are often navigating power dynamics with the adults around them, so this theme will resonate. I hope the children leave the theatre excited to join the merry band and go on adventures with Robin (Sam Liu), Much (Ellian Showering), John (Tom Mackean), and, of course, Marian (Harriet O’Grady). Marian is no passive character—she’s strong, clever, and resourceful, and I can’t wait for young audiences to see her in action.
• Can you share some insights about your collaboration with the cast and creative team? What has that process looked like?
Jennifer Jackson: Collaboration has been at the heart of this process. Getting the right team together was crucial. The cast is absolutely amazing—they bring a playful energy that allows us to balance the nuance and emotion of the story with the silliness and humor needed for a festive show.
One of the fun decisions we made was to cast a child in the role of the King, with Momo and Tomas sharing the part. This adds an unexpected and fun twist to the story, echoing medieval practices like the Boy Bishops, and it inverts the power dynamics of the plot. It will be really exciting to see how this lands with children, as it brings humor but also a bit of tension when the King returns to stir up more trouble.
• Are there any specific theatrical techniques or innovations you’re excited to incorporate into the production, such as set design or music?
Jennifer Jackson: One of my goals was to create a production where the characters build the world before the audience’s eyes. Theatre has such a unique power to do that, live and in real time. We’ve worked with the concept of voice and song in a distinctive way. The music and composition, created by Verity Standen and Simon Panrucker (sound design), draws on a cappella voices, so audiences can expect beautiful singing alongside some fun vocal moments that serve as part of the soundtrack.
I’m also thrilled with our set design by April Dalton. We’ve decided to make the most of The Egg’s space, creating a forest that feels both real and imaginative—almost as though the theatre itself becomes Sherwood Forest. The set is dynamic and designed to invite bold movement, which is a huge part of my practice. The physicality and movement of the production are woven into the storytelling, making it an exciting and immersive experience.
• What messages or themes do you hope the audience will take away from this adaptation of Robin Hood, especially during the holiday season?
Jennifer Jackson: At its heart, this production is about building chosen family and the power of relationships. In a world that can often feel chaotic, the characters learn to trust one another and form bonds that strengthen them. The show explores vulnerability as a strength, and how being open to others can lead to unexpected support and courage.
This is also a story about reclaiming your narrative—about how we can write our own futures and how much stronger we are when we work together. I hope audiences take away a sense of joy and connection, especially in the holiday season. The show is festive, yes, but it’s also deeply about how we form community, overcome adversity, and find our place in the world.
Above all, I hope that the children and families who come to see the show leave feeling inspired and united by the sense of adventure, laughter, and connection that theatre can create.
Running from 29 November – 11 January at the Theatre Royal in Bath.
To book tickets with the website here.
