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 own time. The Highwayman, John Godber’s reimagined tale of an infamous outlaw, is one such story. But what makes this particular production stand out isn’t just its historical setting or its witty dialogue—it’s the way it mirrors our modern struggles with startling clarity. Personally, I think this is where the play’s true genius lies. It’s not just a period piece; it’s a mirror held up to our own society, reflecting issues we’re still grappling with.
A Wild Ride Through Time and Relevance
When Emilio Encinoso-Gil, who plays John Swift, describes the play as a “whirlwind of a journey,” he’s not exaggerating. What’s fascinating here is how the production blends humor, romance, and social commentary into a seamless narrative. But what many people don’t realize is that this isn’t just entertainment—it’s a deliberate choice to engage audiences on multiple levels. The inclusion of “beautifully arranged songs” and “big comedic characters,” as Dylan Allcock points out, isn’t just for laughs. It’s a theatrical device that makes the heavier themes more accessible. If you take a step back and think about it, this is a masterclass in how art can tackle serious issues without alienating its audience.
Politics, Theatre, and the Forgotten
Dylan Allcock’s observation that The Highwayman is a “political piece” is spot on, but it’s also more than that. What this really suggests is that Godber’s work isn’t just about politics—it’s about the people who are often left out of the political conversation. One thing that immediately stands out is how the play gives a voice to the desperate, the forgotten, and the defiant. In my opinion, this is where the play’s relevance becomes undeniable. With the cost of living crisis dominating headlines, the story of people pushed to the brink by systemic neglect feels eerily familiar. What makes this particularly fascinating is how Godber uses a historical lens to critique contemporary issues. It’s not just a play about the past; it’s a play about the present, disguised in period costumes.
The Rich, the Poor, and the Trillionaire Next Door
Matheea Ellerby’s comment about the existence of trillionaires hits hard. Should we live in a world where such extreme wealth exists alongside such profound poverty? This raises a deeper question: how far removed are the elite from the struggles of everyday people? In the play, the disconnect between the ruling class and the working class is stark, and the parallels to today are impossible to ignore. From my perspective, this is where the play’s critique becomes most biting. It’s not just about social disparity; it’s about the systemic failures that allow such disparities to persist. What this really suggests is that the problems we face today aren’t new—they’re just repackaged versions of the same old issues.
A Fresh Take on an Old Story
The decision to reduce the cast from four to three actors is more than just a logistical change. Personally, I think it adds a layer of intimacy to the performance, forcing the audience to focus on the characters and their struggles. Emilio Encinoso-Gil’s point about the “new and fresh dynamic” is key here. It’s not just about doing more with less; it’s about reimagining the story in a way that feels urgent and immediate. What many people don’t realize is that theatre thrives on constraints. Limiting the cast doesn’t diminish the play—it amplifies its impact.
Why This Matters Now
If there’s one thing that stands out about The Highwayman, it’s its ability to bridge the gap between past and present. In a world where trillionaires exist and the cost of living is skyrocketing, the play’s themes of defiance and desperation feel more relevant than ever. From my perspective, this isn’t just a play—it’s a call to action. It reminds us that the problems we face aren’t insurmountable, but they require us to pay attention, to care, and to act. What this really suggests is that theatre, at its best, isn’t just about telling stories—it’s about challenging us to write better ones.
So, if you’re in Queen’s Hall on October 28 or 29, don’t just watch The Highwayman—experience it. Because this isn’t just a play about the past; it’s a play about us. And that, in my opinion, is what makes it unmissable.
