The Highwayman Rides Again: Why This Play Matters More Than Ever
There’s something about a good outlaw story that never gets old. Maybe it’s the thrill of rebellion, the allure of defiance, or the way these tales often mirror our own struggles—just with more swords and fewer spreadsheets. But when John Godber’s The Highwayman comes to Queen’s Hall this October, it’s not just another historical romp. It’s a mirror held up to our modern world, and what it reflects is both unsettling and utterly fascinating.
A Historical Tale with a Modern Pulse
What makes this production particularly intriguing is its ability to straddle centuries. On the surface, it’s a story of an infamous outlaw, complete with wit, romance, and action. But dig a little deeper, and you’ll find a play that’s as much about today as it is about yesterday. Cast member Matheea Ellerby nails it when she says, ‘The issues that were relevant then are still relevant now.’
Personally, I think this is where The Highwayman shines brightest. It’s not just rehashing history; it’s using history to ask uncomfortable questions about our present. Social disparity, government neglect, the desperation of those left behind—these aren’t just themes from the 18th century. They’re headlines from last week’s news.
Theatre as a Political Act
Dylan Allcock, who plays multiple roles in the production, describes the play as ‘political, like all of John’s plays are.’ But what’s striking is how it avoids the heavy-handedness that often comes with political theatre. Instead, it leans into Godber’s love for theatrical history, blending comedic archetypes with histrionic characters.
From my perspective, this is a masterstroke. By engaging with theatrical devices from different eras, the play doesn’t just tell a story—it becomes a story. It’s a reminder that theatre isn’t just entertainment; it’s a tool for reflection, a space where we can explore the complexities of human experience without being preached to.
The Desperation of the Forgotten
One thing that immediately stands out is the play’s focus on desperation. As Allcock points out, ‘The Highwayman looks at the lengths that people will go to when they are desperate and feel like they are not being served by the state or by the government.’ This isn’t just a historical observation; it’s a commentary on our current cost-of-living crisis, on the growing gap between the haves and the have-nots.
What many people don’t realize is how deeply this resonates in a world where we’ve just crowned our first trillionaire. Should we live in a world where trillionaires exist? Ellerby’s question isn’t just rhetorical; it’s a challenge. The play’s portrayal of the elite’s detachment from the struggles of the working class feels eerily familiar.
A Fresh Take on an Old Story
This year’s tour introduces a new dynamic with a three-actor cast, down from four in previous productions. Emilio Encinoso-Gil, who plays John Swift, believes this will bring ‘a new and fresh dynamic to the show.’ I’m particularly intrigued by this change. Fewer actors mean more demands on each performer, more opportunities for creativity, and a tighter, more intense experience for the audience.
What this really suggests is that The Highwayman isn’t just a static piece of theatre; it’s a living, evolving work. The tweaks to the script, the new staging challenges—they all add layers to an already rich narrative.
Why This Matters Now More Than Ever
If you take a step back and think about it, The Highwayman isn’t just a play; it’s a conversation. It’s about the voices that get silenced, the problems that never get fixed, and the people who are forced to take matters into their own hands. In a world where inequality is widening and trust in institutions is crumbling, this story feels urgent.
A detail that I find especially interesting is how the play uses humor and music to balance its heavier themes. Encinoso-Gil promises ‘a whirlwind of a journey filled with laughs… and some beautifully arranged songs.’ This isn’t just a clever artistic choice; it’s a reminder that even in the darkest times, there’s room for joy, for connection, for hope.
Final Thoughts
As someone who’s always been drawn to stories that challenge and provoke, I’m counting down the days until The Highwayman hits Queen’s Hall. But beyond the entertainment value, I’m excited to see how it sparks conversations—about our past, our present, and the kind of future we want to build.
In my opinion, this is what great theatre does. It doesn’t just tell us a story; it invites us to be part of it. And in a world that often feels fractured and disconnected, that’s more important than ever.
So, if you’re in the area on October 28 or 29, do yourself a favor: go see The Highwayman. It’s not just a play; it’s a mirror, a challenge, and a call to action. And who knows? You might just leave the theatre seeing the world a little differently.
