Hood review

Hood is a retelling of the classic story Robin Hood. It follows Robin (Katie Poole) and daughter of an aristocrat Briar Rose (Rebecca Caslake). When Briar Rose discovers Robin true identity, she becomes embroiled in danger. Written by Katie Poole and directed by Lucy Victoria, Hood runs at Just the Tonic at The Caves as part of the Edinburgh Festival Fringe. 

There is clearly a strong directorial voice emerging within Lucy Victoria. She has injected Hood with lots of clever elements, with strong movement coordination. The involvement of the ensemble - as jeering crowds behind the audience is very effective. There is a scene towards the end of the play where the stage is only lit by an oil lamp, with the entire cast in unison voice, in this almost tormenting way. Although interesting in isolation, and emotionally quite intense, it fractured the narrative rather than served it. Sometimes more unique ideas are applicable, and sometimes they are not, learning this is a fine art. I think working with more radical and experimental source material will be where Victoria is more at home.

Hood's original music, as devised by Lauren Paterson-Brown, is very accomplished. The folk-ish music, like the costuming, serves as a strong world building element. Where much of the play leans more comic, the music brings a certain ominousness necessary to view the more serious and darker scenes. 

The whole cast put in performances of relative high quality. Hood is in very comic, and elicits many laughs from its audience, and the performances facilitate that. Where small mistakes and line stumbles happen the cast have the confidence to bounce back with ease. The musicianship, particularly the vocals, is great. 

Hood is somewhat of a feminist play. Perhaps this is the nature of adapting existing story, but the feminist aspects do not quite feel foundation to story. I believe Hood should be louder, almost more vulgar in its politics and in order to have the impact it is presumably trying to achieve. Briar Rose has a controlling father in the "aristocrat" as played by Elliot Holt. I have to say that the strained relationship feels more like a trope than an authentic dynamic. It is only later than we have it contextualised within his broader sexism that it starts to make more sense.  

Hood has a great many positive elements, but is lacking in cohesion. Some of the best theatrical works have such a strong point of view, Hood attempts to do this - but fails to quite get there. ★★★☆☆

Thank you to the company of Hood. I purchased my own tickets to the show, but for the sake of transparency a member of the company is a personal friend.