Nottingham
★★★☆☆ Expansive
Pianodrome Bruntsfield: Mon 25 – Thurs 28 May 2026
Review by Hugh Simpson
Nottingham, the Robin Hood musical at the Bruntsfield Pianodrome that is the EdinBards’ full-scale debut, is a likeable show that undoubtedly ends up trying to do too much.
The musical’s book, music and lyrics are all by Amber Lipman. It features Robin and his merry men (and new arrival Maid Marian) living in the greenwood and robbing from the rich to give to the poor as you would expect. Meanwhile in Nottingham, dastardly Prince John is scheming for more money and power, aided by the Sheriff. Robin’s life is made much more difficult when his comrade Friar Tuck is captured and imprisoned.
Stephen Park (Robin Hood) and Euan Huth (Little John). Pic Robin Mair.
Nottingham’s narrative goes back to the ballad sources, meaning that it avoids the more Hollywood elements of the story that have become familiar to audiences. However, it would still be an advantage to have some knowledge of the material, as the various characters’ backstories are not always explored in sufficient detail.
This is despite the musical being a very long one, with the production taking more than three hours in total. This is partly due to an overload of characters; there are twelve principals, with a further six in the ensemble.
That this is too many to comfortably assimilate is felt most keenly among Robin’s enemies. When you already have Prince John and the Sheriff, is it really necessary to have Gisbourne as well? Not to mention John’s rival, his brother Geoffrey. And also Lord Barton, a knight who has a personal grudge against Marian.
surplus of baddies
This surplus of baddies gives the narrative a distinctly crowded feel, something made worse by the cramming-in of various events from the ballads. A simpler storyline would make for a much clearer (and shorter) show.
Stephen Park (Robin Hood) and Adrian Jieanu (Sheriff of Nottingham) Pic: Robin Mair.
A desire for ‘authenticity’ also has an unfortunate effect on the language at times. While much of the dialogue is heartfelt and humorous, there is a tendency to slip into the portentous use of archaisms that often mars period dramas.
Nobody is expecting a drama set in the late 12th century to be spoken in the Middle English of the period, but instead it too often opts for that awkward, cod-Shakespearean diction that is often used as the default setting for ‘the past’. When the characters sound more modern, they instantly appear more immediate, more approachable and funnier.
The primary question that arises in such cases – why the show is a musical at all – is one that Lipman easily resolves. Her songs add much, providing a consistent and revealing underlining of the characters’ thoughts and feelings. The music itself – a blend of singer-songwriter, medieval and folk influences, and more ‘musical theatre’ elements, well directed by MD Maaike Hillen – is always interesting.
intriguing
As is always the case with a new musical, it is very difficult to judge the songs on first hearing, which might explain why those tunes that are already familiar (Here We Come A-Wassailing, for example) have the most impact. Otherwise, apart from the most obviously ‘musical theatre love song’ number in the second half, much of it can be filed under ‘intriguing’ rather than ‘indispensable’.
Kelly Nickles (Alan-A-Dale). Pic: Robin Mair.
There are a couple of problems with the music. One is that too often for comfort, the songs seem to pitched a little too low for the performers’ voices. The other is that the music, whether live or recorded, is played or piped in from outside the Pianodrome structure.
This works pretty well, as the accompaniment is often very spare, relying on delicate lines played on piano or flute. However, it loses in terms of immediacy; when Alan-a-Dale (Kelly Nickels) is playing an ingenious wheeled harmonium in front of you, the effect is much greater.
It also leads to problems with the balance of Zander Nisbet’s sound design. When the recorded music is of any volume, it is very difficult to hear a singer facing away from you. And since the setting is in the round, this applies to at least one section of the audience at all times. Unfortunately, this occasionally also happens with spoken dialogue when it is underscored by music.
injecting pace
All of these problems could be solved by a discreet pruning of the text and some attention to the sound balance, as the production has a lot going for it. Rebecca Thomson’s direction is energetic and sprightly, making good use of the ensemble and injecting pace into what could otherwise be an even longer affair. This is aided by deft stage management and Nisbet’s expressive lighting.
Sarah Baudouin (Gisbourne). Pic: Robin Mair.
That energy is even more evident in the extended fight sequences, directed by Rebecca Mahar (assisted by Cooper Mortlock). There is a real visceral edge to these, and they are frighteningly convincing.
There is a great deal of commitment on display throughout the cat. Stephen Park’s Robin, Sarah Stanton’s Marian and Euan Huth’s Little John have a likeable lightness of touch, while Colin McDonald’s Tuck has dignity and presence. Matthew Topping (Will Scathlock) and Kelly Nickels (minstrel Alan) round out the Merry Men pleasingly.
Adrian Jieanu’s brooding Sheriff and Sarah Baudouin’s Gisbourne both have a certain nuance to their villainy, with Damien Smith’s petulant Prince John a particular treat. Blair Flucker (Lord Barton) also has a believable nastiness. Alan Sunter, as Prince Geoffrey and King Richard, has a definite gravitas.
depth
Daisy Wade plays the Sheriff’s wife Isabella, who takes on more importance as the story progresses, and is very good indeed, giving the character real depth.
Some of the other characters’ motivations are less easy to divine, and the production suffers as a result. Many of the themes (the rule of law, the desire of the individual to live life on their own terms) are introduced but left hanging, while some of the characters’ pasts (such as Robin’s possible aristocratic background) are thrown in and not addressed, leaving a narrative that is lop-sided.
Undoubtedly, however, with some tweaks (losing a couple of characters, a tighter narrative drive, and knocking at least 40 minutes off the running time) Nottingham has a future.
Running time: Three hours and 10 minutes (including one interval).
Pianodrome Bruntsfield, St Oswald’s Centre, 41 Montpelier Park, EH10 4NB
Monday 25 – Thursday 28 May 2026
Daily at 7pm.
Tickets and details: Book here.
EdinBards Instagram: @theedinbards.
The cast of Nottingham. Pic: Robin Mair.
ENDS
