The Highwayman Rides Again: Why This Play Matters More Than Ever
There’s something undeniably captivating about a story that refuses to stay in its time. The Highwayman, John Godber’s reimagined tale of an infamous outlaw, is one such story. Personally, I think what makes this play particularly fascinating is its ability to bridge centuries, using a historical setting to confront issues that feel ripped from today’s headlines. It’s not just a period piece; it’s a mirror held up to our modern world, and that’s what makes it so compelling.
A Wild Ride Through Time and Themes
When actor Emilio Encinoso-Gil describes the play as a “whirlwind of a journey,” he’s not exaggerating. What strikes me is how the production blends humor, romance, and action with sharp social commentary. It’s rare to find a piece of theater that can make you laugh one moment and question the state of the world the next. But The Highwayman does exactly that.
One thing that immediately stands out is the play’s focus on social disparity. Dylan Allcock’s observation that the story tackles “ongoing problems that never really get fixed” is spot on. In my opinion, this is where the play’s true power lies. It’s not just about a rogue on a horse; it’s about the desperation that drives people to the fringes of society. What many people don’t realize is that these themes are timeless. Whether it’s 18th-century England or 21st-century America, the gap between the haves and the have-nots remains a gaping wound.
Theater as a Political Act
Dylan Allcock’s description of the play as “political” is a detail I find especially interesting. John Godber’s work has always been rooted in social critique, but The Highwayman takes it a step further by blending politics with a love for theater itself. The use of theatrical devices from different eras isn’t just a stylistic choice—it’s a statement. If you take a step back and think about it, the play is essentially arguing that theater has always been a tool for challenging the status quo.
Matheea Ellerby’s point about addressing modern issues through a historical lens is equally thought-provoking. What this really suggests is that the past isn’t just a backdrop; it’s a framework for understanding the present. The cost of living crisis, the rise of trillionaires, the disconnect between the elite and the working class—these aren’t new problems. They’re just dressed in different clothes.
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. Personally, I’m intrigued by how this change will reshape the play. Fewer actors mean more demands on each performer, but it also creates an intimacy that could amplify the story’s emotional core. Emilio Encinoso-Gil’s mention of script tweaks adds another layer of excitement. It’s not just a revival; it’s a reinvention.
Dylan Allcock’s experience performing the play in different formats—‘Round’ and ‘End On’—highlights the versatility of the piece. But with just three actors, the challenge is entirely new. This raises a deeper question: How does a play adapt to its constraints? In my opinion, it’s in these moments of limitation that creativity truly shines.
Why This Play Resonates Now
What makes The Highwayman particularly relevant today is its exploration of defiance in the face of systemic neglect. As Dylan Allcock notes, the play examines what happens when people feel abandoned by their government. In a world where economic inequality is at an all-time high, this story feels urgent. Matheea Ellerby’s question—“Should we live in a world where trillionaires exist?”—is more than a rhetorical jab; it’s a call to action.
From my perspective, the play’s greatest achievement is its ability to give voice to the voiceless. It’s not just about the highwayman; it’s about everyone who’s ever felt left behind. And in a time when so many are struggling to be heard, that’s a message that matters.
Final Thoughts
As The Highwayman prepares to take the stage at Queen’s Hall this October, I can’t help but feel a sense of anticipation. This isn’t just another play; it’s a conversation starter, a challenge, and a reminder that history has a way of repeating itself—unless we pay attention.
Personally, I think the true genius of this production lies in its ability to entertain while provoking thought. It’s a wild ride, yes, but it’s also a mirror. And sometimes, that’s exactly what we need.
So, if you’re in the area on October 28 or 29, do yourself a favor: go see The Highwayman. It’s not just theater; it’s a wake-up call. And in a world that often feels asleep at the wheel, that’s something we could all use.
