‘Marian…’ Swashbuckles Classic Robin Hood Story

By Noah Moore

(Originally published by League of Cincinnati Theatres on April 14, 2024)

To say that the Robin Hood we thought we knew was dead would be correct, both in pure plot and in this reinvention of the classic story. Mount St. Joseph University’s production of Marian, Or The True Tale of Robin Hood lightens the mood with a playful and imaginative retelling infused with folk music.

Marian, played by Claudia Covarrubias, celebrates the Merry Men with her fellow brothers…and sisters…and siblings. Photo by Mikki Schaffner.

The classic tale of Robin Hood, in which the outlaw runs off to Sherwood Forest to fight injustice, is nothing new. The daring tale now soars off the page in a gender-bending feat–Marian is both herself and Robin Hood. Her team or mercenaries, The Merry Men, aren’t quite what the name implies. In a battle versus the injustice of the King, a hilarious queer-infused story emerges in the most uproarious way. 

This production specifically frames the plot within a rural, Appalachian community, with the premise of the community telling the story the best they can. Swords become frying pans, and the ensemble flies through different outfits and characters which hits home on the origin of the story, which itself is a bit of legend. This adds rich dynamics and a keen commentary on finding community through storytelling.

Marian and Lady Shirley, played by Elizabeth Keller, discuss plans to thwart the King’s capture. Photo by Mikki Schaffner.

The show is anchored by the gritty, subdued performance of Claudia Covarrubias as Marian and Robin. Covarrubias swiftly glides between her two personas, with nuanced assertiveness and excellent chemistry. Her right-hand woman, unbeknownst to some, is Abby Simon’s Alanna, the narrator of the story and the eventual reincarnation of the title character. Simon’s sharp and homey performance, especially with Zoe Nienaber’s Will Scarlet, hones in on the modern changes in the plot, such as the two’s queer romance.

With a cast of nine, the ensemble succeeds collectively, and is extremely fun to watch, most notably during the expertly-executed fight sequences. The chaos on stage is controlled, and the performers hit their marks sharply. The humorous standouts, Elizabeth Keller as Lady Shirley and Brennin Sanders as Little John, are delights on stage. They deliver some of the show’s most hilarious one-liners and physical comedy. The live music is a highlight, as well, offering guitar-led folk instrumentals amidst show sequences, which helps set the scene. 

Alanna, played by Abby Simon, shoots an arrow and hits the bullseye, only for Robin Hood to split her arrow in half. Photo by Mikki Schaffner.

The show is a well-oiled machine thanks to the clever and diverse staging by director Carolyn Guido Clifford. The characters and storytelling feel lived-in and authentic, which speaks volumes to Clifford’s world-building and world-exploring onstage. The show’s more intimate moments are impactful, too, as a credit to Erin Carr’s delicate intimacy choreography.

The set, designed by Lauren Carr, is a lofted platform. It has a staircase that caps off the dungeon, as well as various hanging laundry strung over rocking chairs and a long log. The cast leverages the various elements in creative ways, while also providing storied context for the show’s premise. This is also one of the first show’s in recent memory to have virtually spotless sound, from the microphones to the ambient sound effects, thanks to Joseph Rivers’ textured sound design. 

Sherriff of Nottingham, played by Connor Curtin, leaps to find out where Robin Hood is, in a role fraught with physical comedy. Photo by Mikki Schaffner.

Marian is the Robin Hood for a new day and age, and the hilarious yet monumental story jumps off the stage thanks to the stellar re-contextualization. This production aims its arrow and hits it right on the bullseye in the strength of its performances and story.