The Heart of Robin Hood

Some Icelandic artisans came into town for a short run of their extremely odd, if professional, re-visit of the legend of Robin Hood, Maid Marion and King John The Meanie. "The Heart of Robin Hood," by David Farr, with a four-piece band backing them, including expert solos by Salka S�l, was imaginatively directed and, for the most part, diligently acted.

The show is thoroughly entertaining, but leaving the audience wondering at whom it's precisely aimed. No swearing, no nudity (well, semi-nudity if you consider well-built men without shirts to be erotic), and some over-the-top acting in the form of shouting, but muddled through lines. The men's athleticism was well choreographed (superb fight-direction by Joe Bostic) and the songs sprightly (but with lyrics mostly undecipherable).

It was a frustrating two hours, trying to make sense of the simple plot, but undeniably entertaining. If there was one stirring element, it was the tall and imposing set of B�rkur J�nsson: two stories of greenery, dangling ropes, and sheetrock used for sliding down and climbing up, mostly to the amusement of the crowd out front.

Robin Hood is an outlaw, robbing the rich to give to the poor supposedly. The poor are predictably pleased, although we never actually see that happen, and the rich are understandably pissed that they have lost riches and possessions. But young Marion, daughter of the Duke of York, off fighting the Infidels in the Middle East, doesn't believe that she should be married off to some older, rich fart, so she cross-dresses (very fashionable at our time) as a rogue soldier, in order to join Robin's merry band -- a very acceptable notion in this time of the Anti-Trump.

Ah, but the villain, Prince John (Erik Del Barco Soleglad), brother to the off-fighting King Richard the Lionhearted, and regent until his return, is an evil bastard and wants everyone who is against him put to death.

So, in this well-worn plot, goofy antics belie the seriousness of the action. Directors Gisli �rn Gardarsson and Selma Bj�rnsdottir do make merry with their cast, having lots and lots of physical movement, including one athlete who does intricate cartwheels and over-the-head jumps and turns that amaze us. The show never slows and is amusing often, although one actor turns in a performance that is shockingly bad (Daniel Franzese as fat Pierre, who cannot tell the difference between playing "fop" and "fag"). Most distressing.

But, as family fare, it's lighthearted and lively, sure not to offend or bore one. Doesn't enlighten, exactly, but it held the eye most of the time.

Aside from the splendid set, the localized lighting design of Ken Billington and Ed McCarthy was spot-on, the costumes of Emma Ryott exactingly accurate and visual, and the band that supported the songs of S�l. The entire cast (excepting the above-mentioned Franzese) was strong of voice, physicality and able to keep us distracted from the weird book, included Luke Forbes as Robin, Christina Bennett Lind as Marion, an amusing Sarah Hunt as her older, horny sister, Alice, Jeremy Crawford as a short member of the tribe, Kasey Maffay in his usual presence, and Sam Meader as Will Scarlett, all turn in admirable work.

This international cast (USA, UK, Iceland) is something to behold, but supporting such meager material is a waste of talents. Ah, well, let it travel on.

"The Heart of Robin Hood" plays through December 17 at the Goldsmith Theatre in the Wallis Center for Performing Arts, 9390 N. Santa Monica Blvd, Beverly Hills, 90210. For tickets and information, call 310-746-4000 or visit www.TheWallis.org/RobinHood.