Written by Shôn Dale-Jones in collaboration with Hamish Pirie

Performed by Shôn Dale-Jones

We all know variations on the story of Robin Hood and his Merry Men robbing the rich to feed the poor. If we close our eyes for a moment we can imagine it’s 800 years ago and Robin Hood is roasting pigeons and possibly even aubergines in the depths of Sherwood Forest. The magic of Shôn Dale-Jones is that suddenly it’s just as easy to see his hard-working, Thatcher loving father in his green leather chair and his wonderfully radical Gran Dilys on the sofa with his best friend Dylan while they all watch The Legend of Robin Hood in 1975. Mid Seventies pre- Thatcher Anglesey is vividly evoked and having just seen The Duke a few nights ago it all feels deliciously familiar as though opening a new volume of a great book series.

This new tale premiered at the Edinburgh Festival in 2017 and has already raised over £20,000 for Street Child United for children currently living on the street. According to United Nations there are currently over 150 million children surviving on the streets worldwide. As with The Duke Dale-Jones is using story telling to provoke dialogue about inequality and the ever widening gap between rich and poor. This tale weaves illustrates the impact of ethics and principles on young children as the seven year old Shôn is shaped by the radicalism of both Robin Hood and his Granny and how this has shaped his world view as a grown man.

This story perfectly highlights the power money has in society to give status, power and security but also to demean, humiliate and to cause immense stress for individuals. The outcomes might be skin conditions, acts of radicalism and generosity but too often can be extreme poverty, loss of homes and lives.

In Me & Robin Hood there is myth blended with fantasy and reality. The Llangefni U11 football team nearly commit a wonderfully innocent bank robbery, there are flying dolphins with huge hairy bollocks and there is a family estrangement due to politics that tragically is only resolved at the graveside. Throughout the tale Dale-Jones is constantly on the move ranging across the stage as he paints each vignette of his story. His best friend Dylan may have been the imaginative, fleet footed Ronaldo or Pelé on the football pitch but on this stage Dale-Jones moves across a pitch filled with imagery and emotional intensity, nonchalantly scoring the odd genius goal of his own.

HOME 8-9 May

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The Value of Nothing 

Waterside Arts Centre, Sale

Written by Kim Wiltshire 

Directed  by Joyce Branagh

This is a very slick looking production. Right from the point at which we are escorted upstairs to the oak panelled conference room by smiling staff clad in Artworks t-shirts this feels like a genuine launch of something – be it an organisation or a new play!

On entering the space I am asked who I am and given an appropriate file enclosing a pertinent question or statement relevant to the production. I am a journalist from The Guardian and have a rather probing question for the man of the moment Mr Vince Hill. The tightly packed rows of corporate  chairs, the big screen, the glossy company billboards and the hospitality areas all look very authentic. 

The staging effectively takes the audience backstage as observers of the seedy reality behind this glossy launch event but also has us participate front of stage as a theatre audience, and as the participants, business representatives and journalists here for the launch. 

As Vince makes his rockstar entrance moving through the audience  giving high fives and randomly touching people it all starts to feel a little unpleasant. He is the face of Artworks here to prove that Artworks because Art Works.  He is ably supported by his shallow and ruthless companion Michelle who has a skin as thick as the leather on her expensive handbag. Clearly what has started out as a well meaning grassroots projects has been hijacked as a money making vanity project.

We hear from participants of the Artworks scheme who are keen to state they are artists not scallies.  We see videos of well wishers including Councillor Smethurst who successfully nominated Artworks for a Pride of Bolton Award. There are short films from an unemployment workshop with interviews from participants. There is a growing sense that the numbers don’t add up and Artworks is not going to eradicate poverty and unemployment.

Moving on to the staged questions from the audience as potential investor businesses and as zealous members of the press, here the action unravels slightly. The Value of Nothing hints at being both site specific and immersive yet although visually this works it felt disappointing being in the audience when statements and questions did not facilitate any further involvement. This stilted the energy and stopped the performance really getting to grips with the political issues it aims to address.

There are some strong performances from Curtis Cole as the real deal Mikey and the always excellent Samantha Siddall as the gritty mum to be who loves Vince but is not fooled by this con masquerading as social enterprise. Their scenes are the most cohesive and Mikey’s verbal annilhilation and actual devouring  of the class divided hospitality buffet is inspired.

This is a performance with a genuine social conscience which seeks to address some major issues around unemployment, poverty and the opportunities open to us dependent on social class and education. It certainly provides food for thought – and custard creams.