ROBIN HOOD by Kaye Umansky

Total Page:16

File Type:pdf, Size:1020Kb

ROBIN HOOD by Kaye Umansky ROBIN HOOD by Kaye Umansky AN A&C BLACK MUSICAL FOR SCHOOLS WHITEBOARD LYRIC DISPLAYS click on the song titles below to navigate through the document What Once was Merrie He's Rich (Part 1) Englande / Twang! He's Rich (Part 2) The Sheriff of Nottingham The Arrow's in the Air (Part 1) Medieval Girls The Arrow's in the Air (Part 2) The Merry Men Rap Twang! Reprise Ambush Song Acknowledgements Time to be Hypnotised KAYE UMANSKY’S ROBIN HOOD • WHITEBOARD LYRIC DISPLAYS © 2013 A&C BLACK WHAT ONCE WAS MERRIE ENGLANDE / TWANG! All: And all the girls say, ‘Hey! There goes a boy What once was Merrie Englande is merrie now with style, no more. Got a hat with a feather and a real cute smile.’ King Richard has departed to fight a distant All the boys say, ‘Hey man! We can be like him, war. If we spend more time down at the gym!’ A land now doomed to silence where once glad voices rang. Chorus But have no fear! For who comes here, He’s the guy who goes twang! Twang!... With his easy grin and his flash green gear? He can swing through the trees with the Chorus greatest of ease, He’s the guy who goes twang! Twang! Like an orang-utan! [Orang-utan!] He’s the guy who goes twang! Twang-a-lang! He wore a suit of lovely Lincoln Green, He’s the guy who goes twang! Twang! Like a medieval model in a magazine. He’s the guy who goes twang! Twang-a-lang! That dude called Robin Hood, He’s the guy who goes twang-a-lang! And he lived long ago with an arrow and bow, The guy who goes twang! In an outlaw gang! [What a gang!] He wore a suit of lovely Lincoln Green, So just sit back while we tell you what you need Like a medieval model in a magazine. to know, That dude called Robin Hood, About the dude in the wood with the arrow and He’s the guy who goes twang-a-lang! bow, The guy who goes twang! It’s a fact that a show should begin with a bang, But our show begins with a simple twang, oh yeah! Yes, our show begins with a simple twang! KAYE UMANSKY’S ROBIN HOOD • WHITEBOARD LYRIC DISPLAYS © 2013 A&C BLACK BACK TO CONTENTS THE SHERIFF OF NOTTINGHAM Chorus Sheriff: Badder! He’s the Sheriff of Nottingham, He’s an absolutely terrifying man. [Hiss! Boo!] He’s the Sheriff of Nottingham, He’s devising a very wicked plan. Chorus His fearsome reputation will be known He’s the Sheriff of Nottingham… throughout the nation, The horrifying things he’ll do will make you want Sheriff: That’ll do nicely! to hiss and boo. [Hiss! Boo!] [Hiss! Boo!] Sheriff: Music to my ears! He is dastardly and doomy, [Hiss! Boo!] Sheriff: [shouted] Ah, so go ahead and sue me! He will threaten you with axes, He will double up your taxes, You can whimper all you like, He will take away your money He’ll have your head upon a spike, boo-hoo! And your kiddies’ bread and honey too! [Hiss! Boo!] [Hiss! Boo! Hiss! Boo!] Sheriff: Bigger! He’s the Sheriff of Nottingham. [Hiss! Boo!] He’s the Sheriff of Nottingham. [Hiss! Boo!] [Hiss! Boo!] All: With a badge! He will make you bow and grovel, Then set fire to your hovel, Then go home to dine on shellfish, For he’s greedy and he’s selfish too! [Hiss! Boo!] KAYE UMANSKY’S ROBIN HOOD • WHITEBOARD LYRIC DISPLAYS © 2013 A&C BLACK BACK TO CONTENTS MEDIEVAL GIRLS Marionettes: Marion: We sit, we knit, we do a little painting, Not so. I know we’re always in the shadows, We do a lot of fiddling with our curls. Us girls are never featured in the tales. We lace our waists and practise dainty fainting; They say we’re just a boring bunch of saddos, There’s nothing else to do, because we’re girls. Who always take a back seat to the males. Chorus Chorus (all): We’re girls, medieval girls, We’re girls, medieval girls, The ones who all the history books don’t mention. The ones who all the history books don’t mention. We’re girls, medieval girls, We’re girls, medieval girls, The boys get all the action and attention. The boys get all the action and attention. We’re expected to be meek, we’re expected not Marion: to speak, It really makes me mad, yes, it really makes me sad, For our role is just to curtsey and obey. That the guys get all the honour and the glory. We’re required to be dumb, we are underneath the thumb, All: And we never ever get to have a say. It’s time to make some noise, We’re girls, just girls, medieval girls. We are up there with the boys And entitled to a mention in the story. And so, we sit, we knit, we do a little painting, We’re girls, just girls, medieval girls. We do a lot of fiddling with our curls, We lace our waists and practise dainty fainting, And so, although we hardly get a look-in, There’s nothing else to do, because we’re girls. As the world’s recorded history unfurls, There’s more to us than washing up and cooking, Marion: Not so! It’s time to take a stand for all the girls! Marionettes: Not so? Chorus Marion: Not so! We’re girls, medieval girls,... We’re girls, just girls, medieval girls! KAYE UMANSKY’S ROBIN HOOD • WHITEBOARD LYRIC DISPLAYS © 2013 A&C BLACK BACK TO CONTENTS THE MERRY MEN RAP All [whispered]: Will [rapped]: Uh yeah! Yeah! Ohhh! Uh yeah! Yeah! Hey! I’m Will! ’Nuf said! I’m the Scarlet dude and I Uh yeah! Yeah! Ohhh! Uh yeah! Yeah! Hey! dress in red. Will [rapped]: Little John [rapped]: This is the den of the Mighty Merry Men, I’m John, big bloke. They call me little for a You are lookin’ at the chosen few. silly sort of joke. Little John [rapped]: Much [rapped]: If you’re gonna live rough, I’m Much! I bake! They call me the Miller and I Well you gotta be tough, make a great cake. With scars and the odd tattoo. All [sung]: Chorus Much [rapped]: So here we are... This world ain’t good, but we in the wood, Gotta plan that might succeed, All [rapped]: Will [rapped]: Little John, Little John. Uh yeah! Yeah! Little John, Little John. Ohhh! We take the loot from the guy in the suit, Will Scarlet. Uh yeah! Yeah! And we give it to the guy in need. Will Scarlet. Hey! Chorus All [sung]: Much, Much. Uh yeah! Yeah! So here we are, the Merry Men, we hope you Much, Much. Ohhh! like our crew, This is the den of the Mighty Merry Men, We work for Rob, do a real good job, the best You are lookin’ at the chosen few. that we can do, All [sung]: Chorus We’re big and strong, we right the wrong, we So here we are... live on forest stew, We laugh and sing like anything, All [rapped]: You are lookin’ at the chosen few. This is the den of the Mighty Merry Men, You are lookin’ at the chosen few. Much [rapped]: Now listen up and have some fun! Here come the names, one by one. KAYE UMANSKY’S ROBIN HOOD • WHITEBOARD LYRIC DISPLAYS © 2013 A&C BLACK BACK TO CONTENTS AMBUSH SONG Chorus 1 (Merry Men): Let the fight begin! We can’t wait for it! Wipe the floor with you, knock you round a bit! Merry Men: Run along back to your mothers, Hide behind your baby brothers, We know our fighting is superior, And we can’t wait to knock you down! Chorus 2 (Guards): Please don’t hurt us! Please don’t blame us! Wasn’t our fault, someone made us! Guards: Though we come across as yobs, guv, Bear in mind there ain’t no jobs, guv. Oh please show us mercy, let us run away, And we’ll head for some far-off town. Chorus 1 and 2 together. Greensleeves instrumental. Chorus 1 and 2 together. KAYE UMANSKY’S ROBIN HOOD • WHITEBOARD LYRIC DISPLAYS © 2013 A&C BLACK BACK TO CONTENTS TIME TO BE HYPNOTISED Mensa: Time now to close your eyes, time to be hypnotised. All now will be revealed, just keep your eyelids sealed. Chorus I see you on a sunny day, in a meadow far away, Heading for a future where all will be well. Warm wind and sky of blue, everyone loving you, Everyone cheering you, nobody jeering you. Chorus I see you on a sunny day, in a meadow far away, Heading for a future where all will be well. Now I can clearly see, a contest of archery. Here in your hand you hold, an arrow of solid gold. I see you on a sunny day, in a meadow far away, Heading for the future and here ends my spell… BACK TO CONTENTS HE’S RICH [PART 1] All: Rich, rich, rich, rich, rich! Rich, rich, rich, rich, rich! Rich, rich, rich, rich, rich, rich, rich, rich. He’s rich! Prince John is rich! [Rich x 13] He’s stinking, stinking rich! His treasure chest is full to overflowing, He’s rich! Prince John is rich! [Rich x 13] He’s stinking, stinking rich! How rich he is, we have no way of knowing, He’s rich! Prince John is rich! [Rich x 5] His gowns are trimmed with furry baby foxes, His crowns are always spilling out of boxes, He’s loads of gold and jewels by the score, But he’s always wanting more and more, He’s rich, he’s stinking rich! Rich, rich, rich, rich, rich! Rich, rich, rich, rich, rich! Rich, rich, rich, rich, rich, rich, rich, rich.
Recommended publications
  • Outlaw: Wilderness and Exile in Old and Middle
    THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Michelle Haughey August 2011 © 2011 Sarah Michelle Haughey THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE Sarah Michelle Haughey, Ph. D. Cornell University 2011 This dissertation, The ‘Bestli’ Outlaw: Wilderness and Exile in Old and Middle English Literature explores the reasons for the survival of the beast-like outlaw, a transgressive figure who highlights tensions in normative definitions of human and natural, which came to represent both the fears and the desires of a people in a state of constant negotiation with the land they inhabited. Although the outlaw’s shelter in the wilderness changed dramatically from the dense and menacing forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, the outlaw remained strongly animalistic, other, and liminal, in strong contrast to premodern notions of what it meant to be human and civilized. I argue that outlaw narratives become particularly popular and poignant at moments of national political and ecological crisis—as they did during the Viking attacks of the Anglo-Saxon period, the epoch of intense natural change following the Norman Conquest, and the beginning of the market revolution at the end of the Middle Ages. Figures like the Anglo-Saxon resistance fighter Hereward, the exiled Marcher lord Fulk Fitz Waryn, and the brutal yet courtly Gamelyn and Robin Hood, represent a lost England imagined as pristine and forested.
    [Show full text]
  • Outlaw Triathlon 2012 - Provisional Results: Version 4 Email Enquiries - [email protected]
    OUTLAW TRIATHLON 2012 - PROVISIONAL RESULTS: VERSION 4 EMAIL ENQUIRIES - [email protected] POS NAME SURNAME CLUB RACE NO. GENDER CAT CAT POS. SWIM T1 BIKE SPLIT 1 BIKE SPLIT 2 BIKE SPLIT 3 BIKE T2 RUN SPLIT 1 RUN SPLIT 2 RUN SPLIT 3 RUN SPLIT 4 RUN SPLIT 5 RUN SPLIT 6 RUN FINISH NOTES 1 GI TRI CLUB 936 TEAM TEAM 1 00:57:09 00:01:06 00:26:14 02:35:55 03:31:17 04:28:33 00:00:17 00:21:44 01:39:31 01:17:59 01:39:31 02:18:32 02:42:00 03:23:07 08:50:14 Finished 2 THE SHERIFFS 977 TEAM TEAM 2 00:50:05 00:02:01 01:41:33 02:49:44 03:55:32 05:04:40 00:00:19 00:18:07 00:35:59 01:07:27 01:25:49 01:59:22 02:19:42 02:55:46 08:52:53 Finished 3 HARRY WILTSHIRE DRIVIN TO TRI 918 MALE 25/29 1 00:48:35 00:01:49 01:41:53 02:48:00 03:49:02 04:53:29 00:02:33 00:20:55 00:42:44 03:19:47 09:06:16 Finished 4 CHRIS GOODFELLOW 231 MALE 30/34 1 00:54:48 00:02:53 00:31:27 02:48:13 03:49:33 04:53:21 00:02:50 00:20:12 00:40:41 01:16:52 01:38:09 02:16:17 02:39:16 03:17:25 09:11:19 Finished 5 CANCER RESEARCH UK 929 TEAM TEAM 3 00:55:25 00:00:45 00:36:06 02:57:42 04:00:51 05:04:58 00:00:16 00:20:24 00:40:27 01:16:32 01:37:51 02:14:35 02:36:11 03:14:17 09:15:44 Finished 6 DAWN 2 934 TEAM TEAM 4 01:03:09 00:00:54 01:48:57 02:59:59 04:09:10 05:22:17 00:00:19 00:19:29 00:38:12 01:11:09 01:30:23 02:04:21 02:23:59 02:59:07 09:25:50 Finished 7 NATHAN BRADFORD CLIMB ON BIKES HEREFORD 205 MALE 30/34 2 00:59:28 00:02:00 00:32:17 02:56:08 03:58:13 05:02:49 00:02:02 00:21:26 00:42:11 01:19:17 01:40:12 02:18:22 02:41:09 03:19:39 09:26:01 Finished 8 JOHN WHITWORTH 304 MALE 30/34
    [Show full text]
  • King John in Fact and Fiction
    W-i".- UNIVERSITY OF PENNS^XVANIA KING JOHN IN FACT AND FICTION BY RUTH WALLERSTEIN ff DA 208 .W3 UNIVERSITY OF FLORIDA LIBRARY ''Ott'.y^ y ..,. ^..ytmff^^Ji UNIVERSITY OF PENNSYLVANIA KING JOHN IN FACT AND FICTION BY RUTH WAIXE510TFIN. A THESIS PRESENTED TO THE FACULTY OF THE GiLA.DUATE SCHOOL IN PARTLVL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY 'B J <^n5w Introductory LITTLE less than one hundred years after the death of King John, a Scottish Prince John changed his name, upon his accession to L the and at the request of his nobles, A throne to avoid the ill omen which darkened the name of the English king and of John of France. A century and a half later, King John of England was presented in the first English historical play as the earliest English champion and martyr of that Protestant religion to which the spectators had newly come. The interpretation which thus depicted him influenced in Shakespeare's play, at once the greatest literary presentation of King John and the source of much of our common knowledge of English history. In spite of this, how- ever, the idea of John now in the mind of the person who is no student of history is nearer to the conception upon which the old Scotch nobles acted. According to this idea, John is weak, licentious, and vicious, a traitor, usurper and murderer, an excommunicated man, who was com- pelled by his oppressed barons, with the Archbishop of Canterbury at their head, to sign Magna Charta.
    [Show full text]
  • Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham
    Early Theatre 14.1 (2011) Alexis Butzner ‘Sette on foote with gode Wyll’: Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham Lythe and listin, gentilmen, That be of frebore blode; I shall you tel of a gode yeman, His name was Robyn Hode. A Gest of Robyn Hode1 In the greenwood of England, a game is afoot. Robin Hood, the noble ban- dit, has been identified as the audacious hero of Sherwood and Barnsdale for centuries, and his constant presence in ballads and drama since the four- teenth century attests to his popularity in and influence on the culture of the English nation. In a manuscript fragment of the late fifteenth century,2 the legend finds incarnation in a twenty-one-line drama (forty-two, if the caesurae are recognized instead as line-breaks), known by most scholars as Robin Hood and the Sheriff of Nottingham. The text contains no indication of scene-divisions or stage directions, and does not offer any notation to indi- cate the identity of the various speakers. Because the text offers so little in the way of definite answers, it invites interpretation. Despite their admirable efforts to treat the fragment, however, scholars have reached little consensus: critics, while advancing the probable accuracy of their own reconstructions, have yet to resolve some crucial difficulties that arise in the extant text. By reading the script Robin Hood and the Sheriff of Nottingham as a single and complete play-text, as I do in this re-examination, readers may reconcile its apparent inconsistencies. Since the first extant record of Robin Hood in literature, in the four- teenth century Piers Plowman, tales and rhymes of the legendary outlaw have permeated Anglophone culture — a feat of public memory that, according to Stephen Knight, is surpassed only by stories of King Arthur.3 That the Robin Hood legend survives — and thrives — should not come as a shock; 61 62 Alexis Butzner even in his earliest incarnations, he occupies a liminal space between social strata.
    [Show full text]
  • Treacherous 'Saracens' and Integrated Muslims
    TREACHEROUS ‘SARACENS’ AND INTEGRATED MUSLIMS: THE ISLAMIC OUTLAW IN ROBIN HOOD’S BAND AND THE RE-IMAGINING OF ENGLISH IDENTITY, 1800 TO THE PRESENT 1 ERIC MARTONE Stony Brook University [email protected] 53 In a recent Associated Press article on the impending decay of Sherwood Forest, a director of the conservancy forestry commission remarked, “If you ask someone to think of something typically English or British, they think of the Sherwood Forest and Robin Hood… They are part of our national identity” (Schuman 2007: 1). As this quote suggests, Robin Hood has become an integral component of what it means to be English. Yet the solidification of Robin Hood as a national symbol only dates from the 19 th century. The Robin Hood legend is an evolving narrative. Each generation has been free to appropriate Robin Hood for its own purposes and to graft elements of its contemporary society onto Robin’s medieval world. In this process, modern society has re-imagined the past to suit various needs. One of the needs for which Robin Hood has been re-imagined during late modern history has been the refashioning of English identity. What it means to be English has not been static, but rather in a constant state of revision during the past two centuries. Therefore, Robin Hood has been adjusted accordingly. Fictional narratives erase the incongruities through which national identity was formed into a linear and seemingly inevitable progression, thereby fashioning modern national consciousness. As social scientist Etiénne Balibar argues, the “formation of the nation thus appears as the fulfillment of a ‘project’ stretching over centuries, in which there are different stages and moments of coming to self-awareness” (1991: 86).
    [Show full text]
  • Meeple University Guide to Robin Hood and the Merry Men
    Meeple University Guide to Robin Hood and the Merry Men MERRY MEN PHASE 3. Guy of Gisborne (breastplate icon) 11. Free prisoners (tower icon) Take income, then place meeples one at a time - Remove closest barricade to the castle (return to player's lair) - Spend distraction tokens, roll two skill dice per token Two types of actions: active (stronger) and passive (weaker). - Advance carriage to castle if it is now unimpeded (see below) - Free prisoners based on number of successes (see below) Active meeples in hideouts, passive meeples in main area. - Gain rewards from Sheriff's stash (see below) No passive action for construction yard or crusade. 4. Prince John (crown icon) - Return Merry Men to owner; gain VP if belongs to opponent - Remove pennies equal to barricades (including the printed one) • From Prison I, needs 1 success, earn 2VP and one reward To take active action, play matching card from hand or passive pile • From Prison II, needs 2 successes, earn 3VP and two rewards To take passive action, play any card from hand to passive pile 5. Activate a road (carriage icon) • From Prison III, needs 3 successes, earn 4VP and three rewards - Advance all carriages one barricade Passive pile has max six cards (can discard), worth VP at end game - Add carriage to the head of the road 12. Archery competition (target icon) 1-5. Gathering sites (circular shield icons) - If carriage enters castle: - Roll skill dice per the level, gain pennies for each success - Take resource matching the site • Place carriage upright on the lot (top to bottom, left to right) - Can attempt each level in sequence until suffering one failure - Cannot hold more than four weapon dice at any time • Pay pennies from the road per the space covered - No additional penalty for failure - If carriage lot fills: 6.
    [Show full text]
  • The Outlaw Hero As Transgressor in Popular Culture
    DOI 10.6094/helden.heroes.heros./2014/01/10 Andreas J. Haller 75 The Outlaw Hero as Transgressor in Popular Culture Review of Thomas Hahn, ed. Robin Hood in Popular Culture: Violence, Trans- gression, and Justice. Cambridge: D. S. Brewer, 2000. A look at the anthology Robin Hood in Popu- All articles in the anthology but one (by Sherron lar Culture, edited by Thomas Hahn, can give Lux) describe Robin Hood or his companions as some valuable insights into the role and func- heroes or heroic or refer to their heroism. Nei- tions of the hero in popular culture. The subtitle ther can we fi nd an elaborate theory of the pop- Violence, Transgression, and Justice shows the ular hero, nor are the models of heroism and direction of the inquiry. As the editor points out, heroization through popular culture made ex- since popular culture since the Middle Ages has plicit. Still, we can trace those theories and mo- been playful and transgressive, outlaw heroes dels which implicitly refer to the discourse of the are amongst the most popular fi gures, as they heroic. Therefore, I will paraphrase these texts “are in a categorical way, transgressors” (Hahn and depict how they treat the hero, heroization, 1). And Robin Hood is the most popular of them and heroism and how this is linked to the idea of all. Certainly, the hero is a transgressor in gen- transgression in popular culture. eral, not only the outlaw and not only in popular culture. Transgressiveness is a characteristic Frank Abbot recalls his work as a scriptwriter for trait of many different kinds of heroes.
    [Show full text]
  • Resource Guide the Adventures of Robin Hood
    2019-2020 Theatre Season Heroes and Villains Blinn College Division of Visual/Performing Arts and Kinesiology Brenham Campus The Adventures of Robin Hood Resource Guide This resource guide serves as an educational starting point to understanding and enjoying Michele L. Vacca’s adaptation of The Adventures of Robin Hood. With this in mind, please note that the interpretations of the theatrical work may differ from the original source content. Performances November 21 & 22 7 p.m. November 23 & 24 2 p.m. Elementary School Preview Performances: November 21 & 22 10 a.m. & 1 p.m. Dr. W.W. O’Donnell Performing Arts Center Auditorium Brenham, Texas Tickets can be purchased in advance online at www.blinn.edu/BoxOffice, by calling 979-830-4024, or by emailing [email protected] Directed by Brad Nies Technical Theatre Direction by Kevin Patrick Costume, Makeup, and Hair Design by Jennifer Patrick KCACTF Entry The Adventures of Robin Hood is Blinn College-Brenham’s entry to the 2019 Kennedy Center American College Theatre Festival. The aims of this national theater program are to identify and promote quality in college-level theater production. Each production entered is eligible for a response by a KCACTF representative. Synopsis Based on the novel The Merry Adventures of Robin Hood by Howard Pyle, and adapted by Chicago playwright Michele L. Vacca, this play tells the story of a heroic outlaw who lives in Sherwood Forest and bestows generosity to the less fortunate. But when the nasty Sheriff of Nottingham forces the locals to pay unaffordable taxes, Robin fights against him by stealing from the rich so that he may give to the poor.
    [Show full text]
  • Teacher's Guide to the Core Classics Edition of Robin Hood
    Teacher’s Guide to The Core Classics Edition of Robin Hood By Judy Gardner Copyright 2003 Core Knowledge Foundation This online edition is provided as a free resource for the benefit of Core Knowledge teachers and others using the Core Classics edition of Robin Hood. This edition is retold from Old Ballads by J. Walker McSpadden. Resale of these pages is strictly prohibited. Publisher’s Note We are happy to make available this Teacher’s Guide to the Core Classics version of Robin Hood and His Merry Outlaws prepared by Judy Gardner. We are presenting it and other guides in an electronic format so that they are accessible to as many teachers as possible. Core Knowledge does not endorse any one method of teaching a text; in fact we encourage the creativity involved in a diversity of approaches. At the same time, we want to help teachers share ideas about what works in the classroom. In this spirit we invite you to use any or all of the ways Judy Gardner has found to make this book enjoyable and understandable to fourth grade students. We hope that you find the background material, which is addressed specifically to teachers, useful preparation for teaching the book. We also hope that the vocabulary and grammar exercises designed for students will help you integrate the reading of literature with the development of skills in language arts. Most of all, we hope this guide helps to make Robin Hood a marvelous adventure in reading for both you and your students. 2 Contents Publisher’s Note.....................................................................................................................2
    [Show full text]
  • ROBIN' NOTTINGHAM of a LEGEND? Benjamin Dunn Follows the Yorkshire Trail of the Legendary Outlaw and Finds Some Surprising Clues
    HoodWinked! IS YORKSHIRE 'ROBIN' NOTTINGHAM OF A LEGEND? Benjamin Dunn follows the Yorkshire trail of the legendary outlaw and finds some surprising clues... He's the original thug in 'da hood' who everybody loves to hate. His name? Robin Hood, the medieval bad boy gangster in bright green tights. Long associated with the historic English city of Nottingham, this notorious villain of his day is now famous throughout the world. This can be credited to scores of books and several Hollywood movies dis!laying an array of de!ictions characterising one of Euro!e's greatest myths. "ut who was this man of the middle ages? #as he a law unto himself? He entered fol lore as a hero of the !eople, ultimately gaining the une$!ected gift of immortality. "ut will his legend live forever? Later this year Appion Way, the production house run by Leonard DiCaprio, brings us another slab of the Robin Hood legend. Welsh actor Taron Egerton shoots his long-bow as the leading an, while Ray and Djano Unchained's !amie Fox# – an e%en bigger draw, offers up a twist as Robin's wing an, Little !ohn. (t is well )nown that Nottinghamshire has any associations with our an in the hood, but little is )nown that '+ods own country', Yorkshire further North has some substantial and e#tre ely interesting clai s and place name connections of its own related to the original bad boy bandit of -herwood Forest. It Was A Good Dayle .ne such location within the e#panse of what was once )nown as -herwood Forrest, until its deci ation for ship construction under /ing Henry 0((( is a place called 1arnsdale.
    [Show full text]
  • The Sheriff of Nottingham and Robin Hood the Sheriff of Nottingham Appears in the Early Ballads with Robin’S Other Enemies, the Rich Clergy
    Teen Readers Stage 3 Eli Readers is a beautifully illustrated series of timeless classics and specially-written stories for learners of English. Robin Hood The daring and handsome nobleman Robin Hood is forced to live as an outlaw in Sherwood Forest, after the evil Sheriff of Nottingham kills his family and takes his land and money. With the help of his Merry Men, Robin becomes a hero, stealing from the rich to give to the poor. Will the wicked Sheriff of Nottingham manage to capture Robin and 3 Stage his friends? Will Robin regain his land and be able to offer Marian, his love, a real home? Read about this legendary hero of the English Middle Ages and discover all the exciting and romantic adventures he has ROBIN HOOD with his band of Merry Men! In this reader you will find: - Focus on… - Comprehension activities - Glossary of difficult words - Test yourself - CLIL activity Tags Adventure Friendship Stage 1 Elementary 600 headwords A1 Movers Stage 2 Pre-Intermediate 800 headwords A2 Flyers/KET Teen ELI Readers Teen Stage 3 Intermediate 1000 headwords B1 PET Classic with with free downloadable TEEN ELI READERS Audio CD ISBN 978-88-536-0654-9ELI s.r.l. Booklet Robin Hood ELT www.elireaders.com ELT Teen Readers B1 B1 Teen Readers B1 The ELI Readers collection is a complete range of books and plays for readers of all ages, ranging from captivating contemporary stories to timeless classics. There are three series, each catering for a different age group; Young ELI Readers, Teen ELI Readers and Young Adult ELI Readers.
    [Show full text]
  • Robin Hood & His Merry
    Robin Hood & His Merry Men A pantomime by Robin Bailes & Jonathan Hales Spotlight Publications COPYRIGHT © 2003 ROBIN BAILES & JONATHAN HALES Published by Spotlight Publications All rights are reserved including performances on stage, radio and television. No part of this publication may be reproduced by photocopying or any other means without the prior permission of the copyright owner. It is an infringement of the copyright to give any performance or public reading of the play before a licence has been issued. Spotlight pantomimes must be played as per the script, and without alterations, additions or cuts, except by written permission of the publisher. However minor changes such as the addition of local references and topical references or gags are permitted. Likewise, all musical numbers may be changed at the discretion of the producer. The name of the author shall be stated on all publicity including posters and programmes. Programme credits shall state "script provided by Spotlight Publications". All enquiries to Spotlight Publications, 259 The Moorings, Dalgety Bay, Fife, KY11 9GX, Scotland, UK. Tel. 01383 825737 Email: [email protected] Website: www.spotlightpublications.com ISBN 1 904930 16 6 Robin Hood & His Merry Men CAST (in order of appearance) Prince John , baddy #1 Sheriff of Nottingham , baddy #2 Jim (Gymkhana Thatch) , a young girl Daisy , a cow Guard Craig Guard David Ellen A-Dale , minstrel Jim’s Mum & Dad Will Scarlett , a Merry Man Little John , a Merry Man Friar Tuck , a Merry Man Robin Hood , hero
    [Show full text]