THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

ENRICHMENT GUIDE

WORLD PREMIERE Book by Mieko Ouchi Music Composed by Hawksley Workman Direction by Daryl Cloran

Play Guides sponsored by

THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

TABLE OF CONTENTS

THEATRE ETIQUETTE 3 WHO’S INVOLVED 4-5 SPONSORS 6 ABOUT THE PLAYWRIGHT 7 ABOUT THE PRODUCTION 8 DIRECTOR’S NOTE 9 SCRIPT REFERENCES 10-15 SYNOPSIS 16-18 THEMES 19 SYMBOLISM 20 PRODUCTION ELEMENTS 21 DISCUSSION QUESTIONS 22 FURTHER READING/REFERENCES 23 CURRICULUM ALIGNMENT 24-25

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

THEATRE ETIQUETTE

Going to the theatre is an engaging and interactive experience. We want you to be an active participant when you see our shows; laugh when it’s funny, cry when it’s sad, gasp when it’s shocking, and enjoy the experience as much as possible. But we want you to do this in the most respectful way possible, for both the performers and your fellow audience members. To ensure the most positive experience, please review the following information prior to arriving at the theatre. The following items are not allowed in the theatre: •Food and drink (except that which is sold during intermission and/or permitted by the Citadel Theatre, such as bottled water and ice cream). •Cameras and other recording devices (please note that taking photographs or other recordings in the theatre is strictly prohibited by law). Basic courtesy: •Turn OFF and put away all electronic devices such as cell phones, iPods, video game systems, etc. prior to entering the theatre. •Do not place your feet on the seat in front of you. •The actors onstage can see and hear the audience during the performance – it is important that audience members not talk, move around, or fidget during the performance, as this can be distracting for the actors, as well as fellow audience members. •There is no dress code at the Citadel Theatre, but we respectfully request that patrons refrain from wearing hats in the theatre. •For the safety of those with allergies, please refrain from using perfumes or scented products before coming to the theatre. •Please do not place backpacks or other bags in the aisle in front of your feet, as this may impair the ability of persons to exit the row in an emergency. Inappropriate behaviour: Citadel Theatre representatives watch carefully during performances for inappropriate behaviour, especially behaviour that could endanger an actor or audience member. Inappropriate behaviour includes, but is not limited to: •Talking in the audience •The use of laser pointers or other light or sound-emitting devices •Interfering with an actor or the performance (tripping, throwing items on or near the stage, etc.)

Audience members identified as engaging in this type of behaviour will be removed from the theatre during the performance or at intermission.

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

CAST, CREATIVE TEAM AND CHARACTERS

CAST

LARA ARABIAN Lady Joanna Fitzooth/Dell APRIL BANIGAN Rockette DANIEL BRIERE Much The Miller/Lord Fitzwater PATRICIA CERRA Scarlet CAMILA DIAZ-VARELA Amal Abdal VICTOR DOLHAI Prince John MICHAEL DUFAYS Sir Guy of Gisbourne SCOTT FARLEY Mac JESSE GERVAIS The Sheriff of Nottingham KRISTI HANSEN Maid Bina Fitzooth KATELYN MCCULLOCH Maid Marian/Aerial Captain NATASHA MUMBA Jetta John KEVIN OUELLET William of Trent GIOVANNI SPINA Robert Fitzooth STEPHANIE WOLFE Helen of Selston LOUISA ZHU Taka

CREATIVE TEAM

Director DARYL CLORAN Writer MIEKO OUCHI Composer HAWKSLEY WORKMAN Aerial Director ANNIE DUGAN Set and Costume Designer DREW FACEY Lighting Designer LEIGH ANN VARDY Sound Designer OWEN HUTCHINSON Fight Director JONATHAN PURVIS HAWLEY Assistant Director JASMINE CHEN Sound Intern LEIF INGEBRIGSTEN Stage Manager MICHELLE CHAN Assistant Stage Manager AL GADOWSKY Apprentice Stage Manager LORE GREEN

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

CAST, CREATIVE TEAM AND CHARACTERS

Maid Bina Fitzooth: a young noble woman, an exceptional archer, ½ Saxon, ½ Norman, late twenties/thirties Robert Fitzooth: a young man, ½ Saxon, ½ Norman, Bina’s younger brother, athletic parkour abilities, archer, sword fighter, early twenties Lady Joanna Fitzooth: Bina’s mother, Saxon, an elegant noblewoman, forties or fifties Also plays a Verderer and Dell - a Village Woman Maid Marian Fitzwater: Robert’s love, a young noble woman who discovers her skills at silks, Norman, twenty Mac: a young man, a blacksmith and a secret ‘inventor’, ½ Norman, thirties Rockette: his mother, French-speaking, fifties, Norman, also a Verderer Amal Abdal: a young Muslim woman, Bina’s lady in waiting, a musician, trained in cartography and swordsmanship in Toledo Spain, twenties Taka: a Japanese Noro nun from Kikaijima in the Ryukyu Islands, trained in fighting with katana, quarterstaff and Japanese fighting fans, twenties or thirties Scarlet: fierce young girl and a wonderfully talented swordswoman, Saxon, late teens The Sheriff of Nottingham: employed by Prince John, Norman, thirties Also plays Guard in Prologue and Traveller 2 Sir Guy of Gisbourne: employed by Prince John, a fallen Norman knight, a hired killer, an archer, thirties to fifties Also plays Sir George, Much the Miller, and an Old Man Prince John: brother to Richard the Lion Heart, an opportunist, 26 years old Also plays Bearded Man Jetta John: a young woman, a talented swordswoman, orphan, Saxon, late teens Helen of Selston: Head Verderer, Norman, a tough woman, a tough fighter, any age Also Guard in Prologue William of Trent: Helen’s assistant, a ‘Red Shirt’ Verderer, Norman, young Also Guard in Prologue The story takes place in Nottinghamshire (Ravenshead, Newstead Abbey, Mansfield and Clipstone) on the edge of, and inside of, Sherwood Forest, England. 1193.

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

SPONSORS

Season Sponsor A-Level Seats Sponsor

Media Sponsors

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

ABOUT THE PLAYWRIGHT

Mieko Ouchi is a Canadian actor, writer, and director who works in both theatre and film and TV. Her plays have been produced across Canada and the U.S., and have been finalists for the 4 Play Reading Series at The Old Vic in London, the Governor General’s Award for Drama, the Gwen Pharis Ringwood Award and the City of Edmonton Book Prize (winning the Carol Bolt Award). Ouchi’s plays have been translated into French, Japanese, Czech, and Russian. Her award-winning documentary, narrative and experimental films have played at more than 30 festivals and have aired in Canada and internationally. She is also an award-winning actor, freelance director, dramaturg, and much sought-after teacher.

Ouchi’s work spans everything from Theatre for Young Audiences to large-scale adult work, often exploring issues around diversity and the artist’s process and involves a mixing of the techniques, vocabulary and imagery of theatre and film.

Mieko Ouchi, playwright She has written such plays as I Am For You, Jeremy Fisher, Nisei Blue, The Blue Light, The Dada Play, and Things to Remember.

I Am For You Jeremy Fisher

Nisei Blue The Blue Light

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

ABOUT THE PRODUCTION

FIREFLY THEATRE & CIRCUS Firefly Theatre is known for thought-provoking thrills and stunning displays of athleticism and grace. Alberta’s award-winning Aerial Circus Performance Company has captivated audiences at festivals and events throughout North America and beyond, including the Smithsonian Institute in Washington, D.C., the Pacific National Exhibition in Vancouver, WinterCity Festival (Toronto), and Canada Day in London, England. They perform on the ground and in the air, creating original live performances that fuse the genres of circus and theatre. Their productions have taken place inside theatres, museums, convention centres and nightclubs, outside in squares and intersections, and in the air suspended from buildings. Firefly Theatre’s work is unique in Alberta, and has been described as “spectacular and breathtaking” (The Sun); “stunningly beautiful” (See Magazine); “gorgeous and terrifying” (Vue Weekly); and “fresh, funny, neck-craning spectacles” (The Journal).

Firefly Theatre and Circus was founded in 2001 by actor John Ullyatt and circus artist Annie Dugan. Dugan is the Artistic Director of the company, and she is the founder and Program Director of the Firefly Circus Academy (2004), Alberta's first school dedicated to aerial circus arts. The company has been honoured with a City of Edmonton Excellence Award in Arts and Culture, a Mayor’s Award for Innovative Artistic Direction, and the Edmonton Event Awards – Best Entertainer, 2016. Visit www.fireflytheatre.com for more information.

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DIRECTOR’S NOTES

When I first arrived in Edmonton, I asked Mieko if she’d be interested in reimagining an

adventure story for the Citadel stage. Mieko’s “reboot” of the Robin Hood legend is thrilling. She

has reinvented the story in such an innovative and inclusive way. It has been so inspiring to

collaborate with Annie Dugan of Edmonton’s own Firefly Theatre & Circus as she leads our cast

through astounding aerial acts. And Hawksley Workman has composed such an incredible score

for this production. Drew Facey’s awesome steampunk set and costumes, Leigh Ann Vardy’s

fabulous lighting, Owen Hutchinson’s immersive sound design, Jonathan Hawley Purvis’ exciting

fights — there are so many incredible artists involved in bringing this ambitious World Premiere

to life!

This production features the participants in this year’s Citadel/Banff Centre Professional

Theatre Program. Fourteen artists trained at the Banff Centre for four weeks, before coming to

Edmonton to start rehearsals for this production. The training is led by some of the finest

theatre practitioners in Canada and includes everything from voice and text to scene study to

stage combat, and this year, even aerial arts! Our immense thanks to President & CEO Janice

Price, and all of our colleagues at the Banff Centre for this incredible partnership.

Rehearsals for this production have been exhilarating — at any given moment we have had

performers rehearsing scenes in one room, while others are learning music in another, while

others are practicing aerial moves in the theatre, while others are doing stage combat in the

hallways. This story has spilled out into every corner of the building. And now we have packed it

all into this theatre for you!

Thanks so much for joining us for this high-flying adventure!

- Daryl Cloran, director

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WHO IS ROBIN HOOD?

Robin Hood is a heroic outlaw in English folklore who, according to legend, was a highly skilled archer and swordsman. Traditionally depicted as being dressed in Lincoln green, he is often portrayed as “robbing from the rich and giving to the poor” alongside his band of Merry Men. Robin Hood became a popular folk figure in the late- medieval period, and continues to be widely represented in literature, films and television.

Speak the name Robin Hood and immediately an audience will conjure images of the green-clad archer of Sherwood Forest, or the noble robber who steals from the rich to give to the poor, or the humble leader of the Merry Men, or the one man who will stand up to injustice and tyranny in the Middle Ages. These images of Robin Hood are common, even universal, yet they are not the result of a single, unified tradition — rather, they are the product of a metatextual tradition, one which surpasses and overrides every individual representation of the character. The character of Robin Hood is thus remarkably elusive, despite — or perhaps due to — centuries of intense cultural investment in the legend's stability.

Robin Hood consequently enjoys a double life that few other traditional figures can match, because in every new retelling of the story there are always two Robin Hoods present: the Robin Hood of popular culture, which is an amalgamation of prior representations and cultural forces, and the Robin Hood of the specific story, which is designed to meet the specific needs of the author and the projected audience. The Robin Hood of popular culture is the character that audiences expect and demand, and this character is simultaneously deeply desired and deeply rejected. Audiences want new, up-to-date, and relevant Robin Hoods, Robin Hoods who address the pressing social concerns of the audience and, paradoxically, Robin Hoods who do all these things while satisfying all the elements of the popular tradition. However, unlike the English and American Arthurian tradition, with its origins in Malory, the popular-culture Robin Hood is not based in a single text, nor can it be traced back to a major source. Balance between the popular-culture Robin Hood and the Robin Hood of the specific story is rarely achieved — a condition largely attributable to the proscriptions (of behaviours, scenarios, locations, etc.) which bind the traditional Robin Hood. New elements, demanded by audiences to make the traditional story relevant, often collide with concurrent audience expectations of the tradition and are therefore rejected, tradition winning out over innovation.

Another significant element of Robin's character is his nobility of purpose: for example, the Robin Hood of popular culture robs from the rich to give to the poor. However, like the split in locating the tradition in Barnsdale and Sherwood, none of the surviving medieval texts directly reference stealing from the rich to give to the poor. Only the Gest can be said to remotely touch on this theme, for two reasons: first, Robin lays out a code of conduct for his men and second, Robin lends money to the unfortunate knight Sir Richard. The code never directs the outlaws to distribute the wealth they acquire by robbing bishops and archbishops; and Robin emphasizes repeatedly that the money he gives to the knight is a loan, and he expects repayment. Further, the knight is only temporarily poor, and is also of good lineage, noble character, and a good credit risk. Though Robin and his men accumulate the wealth by robbery, they have no underlying social agenda; their charity is accidental and they rob the rich primarily to benefit themselves. 10

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WHO IS ROBIN HOOD? Continued

Was Robin Hood Real?

Beginning in the 15th century and perhaps even earlier, Christian revelers in certain parts of England celebrated May Day with plays and games involving a Robin Hood figure with near-religious significance. In the 19th century, writer-illustrators like Howard Pyle adapted the traditional tales for children, popularizing them in the United States and around the world. More recently, bringing Robin to the silver screen has become a rite of passage for directors ranging from Michael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin’s existence, writers, performers and filmmakers have probed their imaginations for new incarnations that resonate with their respective audiences. In 14th century England, where agrarian discontent had begun to chip away at the feudal system, he appears as an anti-establishment rebel who murders government agents and wealthy landowners. Later variations from times of less social upheaval dispense with the gore and cast Robin as a dispossessed aristocrat with a heart of gold and a love interest, Maid Marian.

Academics, meanwhile, have combed the historical record for evidence of a real Robin Hood. English legal records suggest that, as early as the 13th century, “Robehod,” “Rabunhod,” and other variations had become common epithets for criminals. But what had inspired these nicknames: a fictional tale, an infamous bandit or an amalgam of both? The first literary references to Robin Hood appear in a series of 14th and 15th century ballads about a violent yeoman who lived in Sherwood Forest with his men and frequently clashed with the Sheriff of Nottingham. Rather than a peasant, knight or fallen noble, as in later versions, the protagonist of these medieval stories is a commoner. Little John and Will Scarlet are part of this Robin’s “merry” crew — meaning, at the time, an outlaw’s gang — but Maid Marian, Friar Tuck and Alan-a-Dale would not enter the legend until later, possibly as part of the May Day rituals.

While most contemporary scholars have failed to turn up solid clues, medieval chroniclers took for granted that a historical Robin Hood lived and breathed during the 12th or 13th century. The details of their accounts vary widely, however, placing him in conflicting regions and eras. Not until John Major’s “History of Greater Britain” (1521), for example, is he depicted as a follower of King Richard, one of his defining characteristics in modern times.

We may never know for sure whether Robin Hood ever existed outside the verses of ballads and pages of books. And even if we did, fans young and old would still surely flock to England’s Nottinghamshire region for a tour of the legend’s alleged former hangouts, from centuries-old pubs to the Major Oak in Sherwood Forest. What we do know is that the notion of a brave rebel who lives on the outskirts of society, fighting injustice and oppression with his band of companions, has universal appeal — whether he’s played by Erroll Flynn, Russell Crowe or even, as on a 1979 episode of The Muppet Show, Kermit the Frog. 11

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WHO IS ROBIN HOOD? Continued

Robin Hood in the 19th Century

Although various texts and performances appeared in the early modern period, the 19th century featured an explosion in the popularity of Robin Hood. Authors like Joseph Ritson (1795), Sir Walter Scott and Thomas Love Peacock (both 1820), and Pierce Egan (1838) all featured Robin Hood in their works, either momentarily (as in Scott), or as a featured character, and the period ends with Pyle (1883) starting a new trend in Robin Hood stories. Robin’s appeal was not limited to novels, though, and this century saw a number of plays, operas, and songs featuring the outlaw. Ritson published Robin Hood: A Collection of all the Ancient Poems, Songs and Ballads, now extant, relative to that celebrated Outlaw in 1795. This collection of tales showed more sensitivity to the original works and used more scholarly notes than versions of the Robin Hood tales previously published. It was a big hit and kindled a new interest in Robin Hood.

The next watershed moment in Robin Hood studies came in 1920, with the publication of Scott’s Ivanhoe, which features Robin briefly but makes the conflict between Norman and Saxon a central point, and Peacock’s Maid Marion, published after Scott, but relying on many similar themes and characteristics. Robin’s popularity remained high and, in 1838, Egan serialized a tale of Robin Hood which was published in 1840 as Robin Hood and Little John: or, the Merry Men of Sherwood Forest. Egan’s text was wildly successful, and opened the doors to later versions, including those presented here.

Robin Hood in the 20th Century

After the great success of Howard Pyle’s work, and continuing the trends of the last century, the early 20th century saw further expansion of Robin Hood’s appearances. He remained a staple of the performing arts, with new plays, operas, and songs created about him, but he was perhaps most readily adopted by the new medium of film. The tale of Robin Hood is extremely suitable to young audiences. By this time, Robin’s motives have been made truly heroic: his villains are truly villainous, and Robin is portrayed as a moral figure who fights injustice. Most authors identify Robin as the dispossessed noble of the Tudor period, and this adds purpose to his rebellion. There are no inherent sexual connotations in the tale (such as lust, adultery, and revenge in Arthurian literature), and the tale itself generally ends with the overthrow of oppression and the redemption of the heroes.

The familiarity of Robin’s story lent itself easily to serial publications, as well as opening the legend up to reinterpretations. This case shows some early publications, targeted for children, but popular among adults; short, action-driven texts were easily read by a wide audience. Soldiers especially liked the comic format, as it weighed little and was easily circulated in the field. Some authors, such as Geoffrey Trease, used Robin to make political statements for an adult audience, while other authors, such as Louis Rhead, followed Pyle’s lead, creating illustrated children’s texts. 12

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WHO IS ROBIN HOOD? CONTINUED

Robin Hood in Popular Culture Robin Hood has been a consistent presence in the history of film. Although he is not as popular a figure as some others, every generation has had a Robin Hood film, and nearly every film has been popular and profitable. He also quickly moved to television. Robin’s popularity in these visual media is easily explained. The simplicity of Robin’s motives appeals to a wide audience, and the action- orientation of the story allows for great visual spectacle. It is also very adaptable; it is easy to present on the stage and screen, as there are no transformations, no special effects, no expensive costumes or sets necessary to tell the story of the outlaw hero. The basic plot itself is well-known, and the adaptability of the story lends itself well to different audiences. As audiences have changed, Robin has been able to reflect those changes without losing his essential characteristics.

Timeline

Adventures of Robin Hood. Dir. Michael Curtiz and William Keighley. With Errol Flynn, Basil Rathbone, Claude Rains, Olivia De Havilland, and Alan Hale. Warner Brothers, 1938: Errol Flynn’s turn as Robin Hood, while not the first, is perhaps the most recognized. An action-oriented telling of the legend, it draws upon the earlier Fairbanks film, Robin Hood (1922), for some of its sequences, but ultimately outshines the silent feature in brilliant technicolour. Robin Hood Daffy. Dir. Chuck Jones. With Mel Blanc. Warner Brothers, 1956: A short Warner Brothers cartoon in which Daffy Duck tries to prove to Friar Tuck (Porky Pig) that he is the notorious outlaw Robin Hood. The Adventures of Robin Hood. Vol. 1, No. 8. New York: Sussex Publishing Company, Inc., 1957: This comic features Richard Greene on the cover, and is a tie-in to the popular Adventures of Robin Hood television show, which ran from 1955– 58. The story itself is not otherwise connected with the television series. The Legend of Robin Hood. Famous Classic Tales, 1971: A low-budget Australian production, by the time of this short (47 minute) feature, Robin was recognized as a bankable commodity. Clearly intended for a young audience, this cartoon is unremarkable except as an example of the commercial possibilities of this widely-known figure. Robin Hood. Dir. Wolfgang Reitherman. With Brian Bedford, Monica Evans, Peter Ustinov, and Roger Miller. Walt Disney Productions, 1973: Walt Disney’s second attempt at presenting the Robin Hood myth, this animated feature was more successful than their 1952 live-action The Story of Robin Hood and His Merrie Men. By presenting the characters as animals, the movie delights children and establishes characteristics at a glance. Although not one of Disney’s finest animated works, the marketing of the film is incredible, and continues today; the songs sung by Roger Miller have proven to be perhaps the most durable aspect of the film. Robin Hood: Prince of Thieves. Dir. Kevin Reynolds. With Kevin Costner, Morgan Freeman, Alan Rickman, and Mary- Elizabeth Mastrantonio. Morgan Creek Productions, 1991: A big-budget film that did very well at the box office, Prince of Thieves is not a favourite with Robin Hood scholars and fans. This film abandoned the high action and technicolour swash- buckling of 1938’s Adventures for a more “realistic” (that is, dark and dirty) portrayal of the period. Despite its problems, it served to introduce a new generation to the Robin Hood legend, and it highlights certain trends in medievalism. Robin Hood. Dir. John Irvin. With Patrick Bergin and Uma Thurman. 20th Century-Fox, 1991: This film was originally slated for release at the same time as Robin Hood: Prince of Thieves, but Fox recognized the power of its competition and decided to release this film directly to television and video. Most Robin Hood scholars and fans feel this is the better film. The story is much better (and more in keeping with the traditional legend), John Irvin’s direction is stronger, and Patrick Bergin’s Robin recalls the capricious and dangerous figure of the early ballads. The medieval character of the film is more historically accurate because J.C. Holt, a noted Robin Hood scholar, served as a consultant.

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TRADITIONAL ROBIN HOOD CHARACTERS THROUGHOUT HISTORY

Alan a Dale

Alan a Dale is a character who found his way into the Robin Hood tradition. Not present in the major early long ballads or the Gest of Robin Hood, he is first mentioned in a seventeenth-century ballad in a story where Robin and the outlaws save a young man’s beloved from being married to an older wealthy man, and in a tricksterish spirit they supervise her marriage to Alan himself. With his name variously spelt, he became a minor and intermittently recurrent member of the outlaw band, but his romantic heroism was not forgotten, and occurs in some nineteenth-century fiction and subsequent story. Later, Alan gained the characteristic of bringing music into the outlaw band, being used as a musical commentator in some elements of the film tradition, with the honour of being played by Bing Crosby in the 1964 musical Robin and the Seven Hoods. More recently, he recurs as just one of the outlaws, but his musical capacity has re-emerged in the 2010 film starring Russell Crowe.

Friar Tuck

Friar Tuck has enjoyed a relatively uncomplicated literary existence within the context of the Robin Hood tradition. His personality may alternate between cheerful and solemn, contemplative and self-absorbed, even gluttonous and parsimonious, but he is always a friar, sometimes a priest, and usually the member of Robin Hood's band who consistently stands out for his independence and affiliation with a system of belief that extends beyond the limits of the outlaws' own environs. His association with the traditions of both Robin Hood and May Day celebrations is particularly notable and is well documented beginning in the (post-medieval) Tudor era under the reign of Henry VIII. The literary image of Friar Tuck as a plump and cheerful mendicant seems to be rooted partially in late Tudor drama, and more strongly in comedic texts and operettas produced in the second half of the nineteenth century. Notably, the introduction of Friar Tuck into the Robin Hood tradition slightly predates, but largely parallels, the inclusion of Maid Marian.

Little John

Critical and literary attention has rarely deflected from Robin Hood to land upon Little John, despite the character's prominence in the early modern / late medieval tradition. There is a curious split within the early materials of the Robin Hood tradition: three of the four Scottish chronicles which include Robin Hood mention John as well, and John appears prominently in the four earliest surviving ballads, the texts which are the foundation of the literary Robin Hood; however, references to Little John are far rarer in the popular proverb tradition, as well as in the brief chronicle references to the tradition from within a larger cultural context. The division continues today — where modern audiences find Robin Hood, Little John is never be far behind, yet he remains a member of the supporting cast, and is seldom found in the spotlight himself.

Maid Marian

Marian, often given the containing sobriquet “Maid,” is both an intermittent and elusive figure in the Robin Hood myth. She does not appear in the late medieval yeoman ballads or, with one exception, their seventeenth and eighteenth century broadside ballad descendants. She is an initial presence in sixteenth and seventeenth century gentrification, is less certain of a place on the eighteenth century stage, but becomes from the nineteenth century on a fixture as Robin Hood's partner, often wife, occasionally mother of his child or even children. She plays a usually substantial role in film, and has recently come to the fore in broadly feminist reworkings of the myth. Even when she is recurrently present, substantial variation has occurred in her activities and meaning, and it may be her complexity takes her back before the early outlaw ballads to the medieval French pastourelle tradition.

Although she is essentially Robin's only female partner, she is functionally quite unlike him, as the meaning given, whether social or personal, to her identity and actions does not have his consistent core of meaning. He is always in some way anti- authority; her role and meaning have no such constant vanishing-point. A naïve reaction might be that she changes in response to his positional variety, whether, for example, he represents a noble lord or a Victorian national hero, but that hardly explains how Marian can become for the Romantics an image of ennobling desirability or in a modern feminist context the opposite, a model of competence and even dominance. Marian is, it appears, primarily invoked by the gender-related concerns of the social environment in which she appears: she does not resist authority so much as represent a changing alternative to it. A notable feature is that a strong and active Marian appears to invoke from its own force rather than by source-imitation a “false Marian,” who pretends to be Marian in order to humiliate both her and others who value or depend on her. Gender-related forces both benign and malignant swirl around this potent but often enigmatic figure. 14

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TRADITIONAL ROBIN HOOD CHARACTERS THROUGHOUT HISTORY Cont...

Much the Miller’s Son

Much the Miller's Son is a member of Robin Hood's band from the earliest ballads. In modern depictions, Much is often portrayed joining the band after being caught poaching, though the ballads include him as a member of Robin's men without explanation. Early ballads mention Much as one of Robin's few named companions (along with Little John and Will Scarlet), and picture him as a strong, and even aggressive, man. Unlike the other figures populating the early greenwood, Much has no familiar name. Modern versions sometimes play with and pun upon the name Much, often giving it as a nickname with a background story of its own.

Will Scarlet

Will Scarlet, also known as Will Scathlock, has long been part of the Robin Hood tradition. He appears in three of the four earliest surviving ballads that form the core of the tradition: Robin Hood and the Monk (c. 1450), Robin Hood and Guy of Gisborne (c. 1475-1500), and A Gest of Robyn Hode (c. 1500). Members of the outlaw band are sometimes named, and along with Little John and Much, Will Scarlet/Scathlock is a name that consistently appears in the lists of Robin Hood's “wild fellows.” However, Will rarely fills any significant narrative role, even in the early tradition: he is one of three outlaws who rescue Robin from the Nottingham jail in Monk; he stands with Robin (and John and Much) in the Gest; he runs away from the Sheriff's seven score men in Guy of Gisborne.

The Sheriff

The sheriff of Nottingham's role in the Robin Hood legends is not glamorous – nor is his rivalry with Robin Hood particularly personal. In sum, the sheriff exists because Robin Hood needs the sheriff to exist. Without a foe who embodies local and national governmental corruption, indicating both personal failings and systemic problems, Robin Hood cannot hope to stand as a resistance figure to unjust authority. Consequently, the sheriff of Nottingham is rarely granted so much as a personal name. Certainly in the late medieval / early modern ballad tradition the sheriff serves more as an incompetent stock villain over whom the protagonist – for the early Robin Hood can hardly be called a hero – continually triumphs. The narrative continuity that many modern audiences expect from serial productions on the same topic is not present in the medieval Robin Hood materials; Robin is not the same “person” from story to story. Nor is the sheriff the same “person”: the sheriff is killed in The Geste of Robyn Hode and in Robin Hood and Guy of Gisborne because they are separate stories and are not intended to cohere.

Modernity has not been kind to the sheriff (though his survival rate has generally improved) and he has barely escaped that early anonymity in modern film and literature. Even in modern film productions, the character is still often unnamed, largely because he continues to serve as an identifiable stock villain. When the sheriff appears in modern productions, his second in command, Guy of Gisborne, frequently steals the show. The exception to this rule is when the sheriff is played as utterly crazed and insane: for example, in the television series Robin of Sherwood and the feature film Robin Hood: Prince of Thieves, where the sheriff's antics draw more narrative and audience attention than his position as Robin Hood's chief enemy. Thus, until the 1970s, the history of the sheriff of Nottingham as a character was a virtual tabula rasa (Latin for “blank slate”). Every novel, film, television series, or other media production which felt the need to include the sheriff used the character differently, and with little lasting impact. Late twentieth- and early twenty-first-century cinematic tastes for consistent characterization have produced more detailed “stock” characteristics for the sheriff. However, the sheriff of Nottingham has been appearing alongside Robin Hood since the fifteenth century and, like his nemesis, his history is complex.

Guy of Gisborne

Guy of Gisborne is a perennial villain in the Robin Hood tradition. He first appears in the medieval/early modern ballad Robin Hood and Guy of Gisborne, dated to the final quarter of the fifteenth century. His most notable medieval characteristic is his unusual costume: he wears a complete horsehide – top, tail, and mane – as a form of armour. Robin takes the armour and dresses as Guy, mutilating the corpse's face and then carrying his victim's severed head to the Sheriff. Despite this (initial) gruesome end, Guy reappears consistently in the many iterations of the Robin Hood tradition. In the early tradition, he is a bounty hunter, hired by the Sheriff to track down and kill Robin. In the modern era of film and television, however, Guy is the Sheriff's second in command. Guy's competence varies from text to text, particularly in the modern iterations of the character, and is dependent upon the tone of the production of as a whole. In order to provide Robin Hood with a credible villain in the Sheriff, Guy is often set up as the comic relief; alternately, if the Sheriff is an incompetent buffoon, Guy takes the role of sinister power behind the throne. 15

THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

SYNOPSIS

The story takes place in Nottinghamshire (Ravenshead, Newstead Abbey, Mansfield and Clipstone) on the edge of, and inside of, Sherwood Forest, England. 1193. Warning: Spoilers Ahead Act One In late 1193, a young man, Mac runs into the Hamlet of Ravenshead, eluding capture by hiding and as- cending to the second floor of the blacksmith shop via a rope contraption. The Verderers cannot find him. They threaten the villagers, then leave. Mac appears with a dead rabbit and is berated by his mother Rockette. Fitzooth House in Mansfield. Amal, a lady in waiting, tries to convince a young woman, Maid Bina to eat. She won’t. Amal sings her a song. Outside, Mac, delivering horseshoes to a client in Mans- field, spots Bina through the window. Much tells him the infamous story of how her parents kept her in the tower her whole life. Up in her room, Bina’s mother, Joanna appears, upset that Bina’s brother, Robert, has met a Norman girl. Joanna fears Marian’s family will take their land. Joanna begs Bina to speak to Robert. She leaves and Bina, who is differently abled, reveals to Amal that she while she believes she herself will never find a match, her brother at least deserves the chance. Back in Normandy, France, Prince John, a spoiled young man, meets with the Sheriff of Notting- ham about raising more money to finish his deer park, while his brother, King Richard, is held for ran- som on Crusade. In Mansfield, Bina, climbs out her window. She climbs out her window and down a rope to prac- tice her archery, and almost shoots Robert. They hear their mother coming, and Bina climbs back through the window, while Mac watches. Rockette serves two Travellers at her pie booth, while Jetta, a pushy but resourceful orphan, convinces them to hire her for assistance. Two Verderers drag Much The Miller in. He previously lost two fingers as punishment for hunting, and now they a tore going to blind him for this second poaching offence. As they go to blind him, someone shoots arrows at the Verderers. The crowd starts to turn. The Verderers leave but take Much with them, with the promise of putting him in jail. Much’s daughter, Scarlet, enters looking for her father. She is distraught to hear the news of his arrest. When she runs off after him, Rockette sends Mac to bring her back. Rockette promises Scarlet she can stay with them.

Robert and Marian appear in the forest, playing on an old rope swing built by Robert’s father. They are falling in love.

Back in Mansfield, Bina, down for another night of practice, finds a quiver of beautiful hand- made silver arrows. She hears a rustling in the bushes and leaves to follow it.

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

SYNOPSIS Continued

Mac arrives home in Ravenshead after delivering his gift, and is shocked by an arrow shot into the shut- ter above his head. Bina steps out of the shadows, she has followed him home. They hear carriages coming and Mac pulls Bina up into his room via his Ascender. Bina discovers his room is full of steam- punk inventions. Bina makes Mac promise never to say a word to anyone about her leg or archery skills.

At Clipstone, The Sheriff of Nottingham announces that Prince John has been proclaimed King, shocking everyone. He also announces that John plans to make Clipstone his palace. Lord Fitzwater ex- plains that the families of Nottingham have already given everything they have to pay for King Richard’s Crusade, so the Sheriff offers to take Marian’s hand in marriage instead. Marian refuses, and Robert stands up for her. The guards start to drag Robert away, but Marian intervenes, allowing Robert to es- cape. The Sheriff proclaims Robert an outlaw and orders Marian and Lord Fitzwater to be thrown in pris- on.

Bina asks Mac for help searching for Robert. He shows her the artificial leg he has built for her. Scarlet comes and tells them Robert is hiding in the forest. Scarlet, Mac, Bina, and Amal head off after him. Jetta sees them leave, and offers herself as a Squire to two travelers who are heading out on to the King’s Highway.

Scarlet, Mac, Bina, and Amal arrive at a clearing near Newstead Abbey. Mac tries to send Scarlet home but she goads him into a sword fighting lesson. Suddenly, Robert appears on a rope, swinging through their midst. He finds out he is an outlaw, and vows that he and Marian will live in the forest until King Richard’s return. Scarlet asks to stay with them, and Amal joins them, as well. They all wait on Bina to decide if she is with them when a Japanese monk, Taka, comes out of the woods to declare her alle- giance to their cause. Bina reluctantly joins them.

The Travellers and Jetta come through the woods and Robert and his group attempt to rob them, but things go badly. The group realizes they need to hide their identity in order to keep going and in- vent the character of The Hood. Meanwhile, Helen, the Head Verderer, recruits Jetta into the Royal Guard. Jetta, Helen, and William try to ambush Robert but the group robs them while Scarlet distracts them.

The band gets word that Lord Fitzwater hasn’t been able to pay the taxes. Robert panics, they must get Marian. Mac offers the use of a new invention that can get a message to Marian: the Web. Rob- ert works on getting a message to Marian in prison. He meets Sir Guy in the forest, alone, and they du- el. Robert is mortally wounded and he dies in Bina’s arms.

Act 2

Marian receives word about Robert’s death, and does an aerial dance while the others bury him at the old Oak Tree. Bina gives a rousing speech, and they all vow to uphold the principles of The Hood and rename the character Robin Hood.

Sir Guy informs Prince John that he has wounded The Hood. They decide to host an archery tour- nament to draw The Hood out so they can kill him publicly.

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

SYNOPSIS Continued

The band sends a message to Marian about her upcoming marriage to the Sheriff of Notting- ham. Marian uses her bedroom curtains to climb out of the castle window but is caught by Jetta, Hel- en and William. She is thrown into the dungeon where she meets Much. The Sherriff tries to convince Marian to accept their marriage.

Mac and Bina practice aerial arts, while Helen and William do the same. Jetta, who is now a squire, begs him to train her as a fighter. Taka trains Bina, advising her to allow her ancestors to ac- company her spiritually in the Tournament.

The night before the archery tournament, each character prepares in their own space. The ghost of Robert appears to Bina and gives her his sword.

The day of the archery tournament arrives. Prince John announces that Sir Guy will shoot on his behalf, and asks for challengers. To everyone’s shock, Bina steps forward. While she and Sir Guy shoot, the rest of the group get into place. Before the final arrow, Bina puts on her new artificial leg. She splits the shaft of Sir Guy’s bullseye arrow perfectly, winning the tournament.

As the crowd cheers, Bina whistles and Mac, dressed as Robin Hood, rappels into the tourna- ment. Bina and Sir Guy begin to fight, while Marian climbs the canopy. Taka, Scarlet, and Amal ap- pear, also dressed as Robin Hood, confusing the crowd. Marian escapes but goes back to get Much with Scarlet’s help. Jetta stops tem as they escape, and threatens to turn them in but Much convinc- es her not to. The Sheriff arrives and Jetta fights him. Bina finally bests Sir Guy, and she’s about to kill him, when the judge of the archery contest reveals himself to be … King Richard!

Everyone drops to their knees. King Richard asks about the man in green and Rockette explains it’s Robin Hood, and what he has done for the starving people of Nottingham. Richard declares that Robin Hood and his band are outlaws no more. He presents the silver arrow to Bina.

Bina and Mac sit on the swing in the forest, discussing their future. Mac starts to propose to Bina but she beats him to it. They get married in the forest, surrounded by their merry band and the commu- nity, and joined by the final member of their merry band: Jetta John.

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

THEMES

FAMILY

Family is an important theme in The Silver Arrow. There are several family dynamics throughout the play. Bina and Robert are an example of a close, loving sibling relationship, while King Richard and Prince John are an example of the opposite. Robert is a protective brother who looks out for Bina, while Prince John takes advantage of his brother’s absence to steal his power. Scarlet is close with her dad, which is mirrored by Mac’s close relationship with his mother; while Jetta is someone with no familial relationships, which leaves her seeking a replacement family. Taka also appears to be without a family, although she finds one with both the brothers of the monastery and with the Robin Hood band of Merry Men. Robin Hood and his band of Merry Men is a wonderful example of a “found” family — a family that is not related by blood but form a close bond that resembles sibling/parental relationships.

VENGEANCE

The desire for vengeance or revenge — which is a more personal form of vengeance — happens throughout the production. Prince John wants revenge on anyone who breaks his laws about hunting or questions his position in the village, since he knows that he is a pretender to the throne (which makes him extra sensitive to any alleged slights). His cruel acts of vengeance inspire the villagers, particularly Robert, to want revenge against him, although it is not their only motivation or goal. Bina wants revenge against Sir Guy of Gisbourne after he kills her brother but, again, it’s not her only motivation (her main motivation for entering the archery tournament is to rescue Maid Marian and Much The Miller). Therefore, in The Silver Arrow, acts of vengeance or revenge are usually a reaction to a horrible action, and sometimes it is a byproduct of other actions.

CHIVALRY

Acts of chivalry are apparent throughout the play. Chivalry has several definitions, including: A group of noblemen, knights, and horsemen; courteous behaviour, especially of men towards women; and the combination of qualities expected of an ideal knight, such as courage, honour, courtesy, justice, and a readiness to help the weak. Robin Hood and the Merry Band act chivalrously when they distribute the items they have stolen to people who are in need. The Silver Arrow also upends the idea that chivalry is a male behaviour, by having chivalrous acts performed by the mostly female band of thieves.

SILVER

The colour silver is often associated with justice and compassion, in that it is the colour between black and white. Silver appears not only in the title of the play but several times throughout the plot. The artificial steampunk leg that Mac builds for Bina is silver, as are the arrows he makes for her. She uses the silver-tipped arrows when she competes against Sir Guy of Gisbourne, as Bina represents justice and compassion fighting against evil.

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

SYMBOLISM Continued

Robin Hood’s Famous Hat — How the Outlaw’s Headware Became an Iconic Symbol

There are many types of recognizable headgear that instantly identify the group the wearer belongs to — including the cowboy's stetson, the knight's armoured helmet, the pirate's bandana, and the fireman's hard-hat, etc. — but the one item of headwear that immediately establishes an association with a single person's name is the traditional Robin Hood Hat!

The familiar, triangular-shaped cloth cap with a feather in it has become an iconic item of clothing that universally identifies the wearer as Robin Hood. Historians say that it was probably originally designed as a practical piece of medieval headgear used primarily by foresters, as its slim forward-pointing brim avoided it catching the string of their longbows when firing an arrow. The simplicity of the style, with some decorative additions, later saw the hat evolve into the mainstream fashion of the period. The familiar shaped hat has also been used as the distinguishing feature on numerous illustrations and commercial brands ranging from the giant U.S. Walmart supermarket chain to “The Nottingham” building society, and it is frequently worn by campaigners for social justice such as Oxfam's Robin Hood Tax initiative and representative groups such as the California Nurses Association.

One of the most famous uses of the hat’s brand is by the Robin Hood Flour Company based in Saskatchewan, Canada, who first introduced it on their stylized logo when the business was founded in 1909. In fact, the flour brand became so well known as a household name in North America that the original logo was actually used as the reference that inspired Errol Flynn's iconic hat and costume for Warner Brothers classic 1938 movie The Adventures of Robin Hood.

There are, of course, literally hundreds of pubs, inns and hotels with Robin Hood related names and on the pictorial signs that usually hang outside these establishments, Robin is frequently shown wearing the characteristic hat with a feather and, on some of the older signs, the artists often disproportionately over-emphasized the size of the feather, making the hat look more like a cavalier's headwear from the English Civil War!

Over the centuries that the Robin Hood tales have been told and re-told, the Robin Hood Hat has been the simplest of costumes by which to define the character and has become an essential stock wardrobe item in schools, amateur dramatic productions and theatre and repertory companies. Easy to make and store, yet instantly recognizable.

It has also proved indispensable to cartoonists who found that by just adding a simply drawn Robin Hood hat to their illustrations the figures quickly conveyed the context of the character they were trying to create. So, whether they were a political satirist depicting David Cameron as the “Sheriff of Notting Hill” or Mickey Mouse, Tom and Jerry or Bugs Bunny on a Sherwood Forest caper in an animated film short, showing them wearing a Robin Hood hat with feather immediately put their drawings in character.

However, not everyone saw the traditional hat in an attractive light. To some, it seemed twee and hackneyed and (excuse the pun!) old hat and a look-back at a few of the more recent portrayals of Robin Hood on the big and small screen shows that Russell Crowe, Kevin Costner, Patrick Bergin and Jonas Armstrong preferred to ditch the iconic Errol Flynn headgear as being outdated and old-fashioned. Perhaps they felt it was not masculine enough for a hard-hitting, modern day film hero and so their costumes incorporated the use of a hood or cowl, more in keeping with the outlaw's name and ability to slip unrecognized into the safety of Sherwood Forest.

But the Robin Hood hat still remains a firm favourite with the general public; a fact that is confirmed by its popularity as a top-selling visitor souvenir and fancy dress costume. So, whether it's young boys wearing one to act out their hero in a wooden sword fight or adults with one jauntily perched on their heads on a Nottingham Stag Night, the Robin Hood hat still survives and is here to stay. http://www.robinhood.ltd.uk/in-popular-culture/104-hats-off-to-robin-how-the-outlaw-s-headwear-became-such-an- iconic-s

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

PRODUCTION ELEMENTS

THRUST STAGE

The Thrust stage configuration is one of the oldest in theatre history. It refers to a stage (or performance space) that extends forward into the audience. A thrust stage configuration is especially effective for drawing in the audience and actively connecting them with the action onstage.

Wall/ Backstage Area

Audience Audience

Audience

The Maclab at the Citadel is an example of a thrust stage. This type of stage is used to extend the playing space out into the audience. In A Christmas Carol, the director utilizes the entire theatre and has actors entering and exiting through vomitoriums (voms) and onto the stage. The mise en scene for A Christmas Carol is especially effective as it amplifies the audiences’ sense of community. While the thrust stage is a great asset in creating an amazing production it does require conscientious collaboration between the actors and the audience. Both of these groups need to be aware of each other to allow the performance to run smoothly. As an audience member be sure to keep all of your belongings stowed beneath your seat and to remain in your seat throughout the performance.

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

DISCUSSION QUESTIONS:

1. What Robin Hood stories were you familiar with before you saw The Silver Arrow? In what

ways has your perception of the character changed after seeing it?

2. Robert and Bina have a loving and playful sibling relationship. Did you relate to their

relationship. Why or why not?

3. How is Robert and Bina’s relationship as siblings different than King Richard and Prince John’s

relationship? Compare and contrast the two families.

4. At the beginning of the play, Bina doesn’t leave her house because of her leg. In what ways

does her character change/grow after she begins to leave her home and spend more time

with other people?

5. Mac breaks Prince John’s laws about hunting in order to feed his starving family. Is he

justified in doing so? Why or why not?

6. Near the end of the play, Bina has an opportunity to kill the man who killed her brother.

Should she do it? Why or why not?

7. What would you do if you were in the same situation as Bina? Explain your reasons.

8. In this play, many of the female characters, such as Maid Bina, Maid Marian, Scarlet, Jetta,

and Taka, break down female stereotypes, especially for the age in which they live. What

motivates each of them to act differently than one might expect them to?

9. Bina initially decides not to tell her mother about Robert’s death. Why does she make this

decision? Would you behave similarly or differently if you were in the same situation?

10. The Silver Arrow is a play with music but it’s not a musical. What role does music and singing

play in this production? What are the advantages or disadvantages to having the characters

sing about their feelings instead of speaking?

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

REFERENCES/FURTHER READING

http://d.lib.rochester.edu/robin -hood/theme/robin-hood

http://www.history.com/topics/british -history/robin-hood

http://www.robinhood.ltd.uk/in -popular-culture/104-hats-off-to-robin-how-the-outlaw-s- headwear-became-such-an-iconic-symbol

https://en.wikipedia.org/wiki/Robin_Hood

http://www.boldoutlaw.com/

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THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

CURRICULUM ALIGNMENT Curriculum Connections: Participation as an audience member at the Citadel Theatre aligns with the Alberta Education Curriculum. We outline be- low some (but not limited to) objectives which are developed through the viewing of live theatre:

Drama (Elementary) Third Goal To foster an appreciation for drama as an art form Objectives The child should: 1. develop an awareness of an respect for potential excellence in self and others 2. Develop a capacity to analyze, evaluate and synthesize ideas and experiences 3. Develop an awareness and appreciation of the variety of dramatic forms of expression. Specific Learner Expectations: Intellectual—develop and exercise imagination; develop concentration Emotional—explore emotion; control emotion; express emotion Social—understand others; discipline self; develop appreciation of the work of self and others; cope with emotional re- sponses Integrative—learn to respond to stimuli; e.g., music, pictures, objects, literature; test and reflect on the consequences of dramatic decisions

Drama (Junior High) GOAL I To acquire knowledge of self and others through participation in and reflection on dramatic experience. Objectives The student will: • strengthen powers of concentration • extend the ability to think imaginatively and creatively • extend the ability to explore, control and express emotions

 extend the ability to explore meaning through abstract concepts

 develop the ability to offer and accept constructive criticism develop the ability to offer and accept constructive criticism GOAL III To develop an appreciation for drama and theatre as a process and art form. Objectives The student will:

 develop awareness of various conventions of theatre

 develop awareness of drama and theatre by viewing as great a variety of theatrical presentations as possible

 develop the ability to analyze and assess the process and the art

 develop recognition of and respect for excellence in drama and theatre 24

THE SILVER ARROW: THE UNTOLD STORY OF ROBIN HOOD

CURRICULUM ALIGNMENT

Drama 10-20-30 GOAL I To acquire knowledge of self and others through participation in and reflection on dramatic experience. Objectives The Student will:

 extend the ability to concentrate

 extend understanding of, acceptance of and empathy for others

 demonstrate respect for others — their rights, ideas, abilities and differences (S)

 demonstrate the ability to offer, accept, and reflect upon, constructive criticism.

GOAL II To develop competency in communication skills through participation in and exploration of various dramatic disciplines. Objectives The Student will:

 demonstrate understanding of integration of disciplines to enrich a theatrical presentation.

GOAL III To develop an appreciation of drama and theatre as a process and art form. Objectives The student will: • explore various conventions and traditions of theatre • broaden knowledge of theatre by viewing as great a variety of theatrical presentations as possible ( • demonstrate the ability to assess critically the process and the art • demonstrate recognition of and respect for excellence in drama and theatre • develop an awareness of aesthetics in visual and performing arts.

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