Grab your map and compass – Treasure Island is taking Bristol on a raucous, engaging pirate escapade. Captained by a skilled troupe of actor-musicians, this latest iteration of the classic tale is sillier than a traditional musical, smarter than a panto, and as cosy as you want a Christmas show to be, all while somehow feeling distinctly, unmistakably Bristol.
The story opens in a contemporary Bristol pub before transporting the audience back to the 18th century. Jim Hawkins (Adryne Caulder-James) discovers Captain Flint’s notorious treasure map and soon sets sail aboard the Hispaniola, joined by Squire Trelawney (Morgan Val Baker), Captain Smollett (Lloyd Gorman), and the cunning Long John Silver (Colin Leggo).
Purists will note that creators Jake Brunger and Pippa Cleary have reimagined Jim as a girl and added a brief backstory for Jim’s father to deepen her motivation for taking to the seas. Mutiny, ghostly warnings, sword fights, and offbeat comic chaos follow in quick succession.
Adryne Caulder-James proves a compelling Jim Hawkins – a newcomer who, if this Bristol opening night is anything to go by, is at the start of what promises to be a long and accomplished career. She combines youthful energy with a grounded sense of courage, her curiosity and conviction anchoring the entire production.
Another debutant is Jayde Adams, portraying both Ben Gunn and Jim’s mother with characteristic flair. She’s at once wildly funny and unexpectedly moving, slipping between characters with ease and confidence. It’s no surprise Dawn French once named her the third funniest woman alive; comedy is clearly in her bones, but she brings real emotional heft too.
Colin Leggo’s Long John Silver is devious, magnetic and sharply timed. At moments held back by a too-quiet microphone, he nevertheless commands the stage through sheer presence, balancing menace and humour with a deftness that keeps the audience leaning in.
Highlighting individuals feels almost unfair given the collective strength onstage. The full company sing, play, act, and sword-fight often all at once. Violins, guitars, trumpets and drums weave through the action without disrupting momentum; instead they fuel it, giving the show a restless sense of motion, as though the story itself is constantly rolling with the tide.
Visually, the production shines. The costumes cleverly layer 18th-century silhouettes over streetwear – pirate hats emblazoned with Nike swooshes, pirate frock coats with Adidas’ signature three stripes, denim jackets evolving into denim greatcoats. It’s playful, fresh and distinctively Bristol.
Tom Rogers’ set is equally striking. At a time when most theatres use digitally printed backcloths, seeing a fully hand-painted backdrop – a vast recreation of Robert Louis Stevenson’s original treasure map – feels genuinely special. Painted on Bristol Old Vic’s historic paint frame (one of the few still in operation), it’s a piece of craftsmanship so beautiful it almost deserves its own bow. Add in a cheeky parrot puppet and a couple of coconuts with impeccable comic timing, and the stage picture feels both richly textured and wonderfully alive.
Brunger and Cleary’s score, orchestrated with real finesse by Sarah Travis, shifts easily between rowdy sea shanties and softer, more reflective ensemble moments. The music supports the story rather than overwhelming it, giving the cast room to show off both their vocal ability and musical dexterity.
By the final curtain, Treasure Island has delivered a full-throated festive adventure – warm-hearted, sharply made, and properly funny, with the opening-night audience loudly proving just how well it all lands. It’s lively family theatre that strikes the sweet spot: fun without being frivolous, bold without being brash, and endlessly watchable.
