Treasure Island

BLOW ME DOWN Warren Weber takes aim at Chris Hainsworth.

Photo: Suzanne Plunkett

Lifeline’s latest slogan promises “Big Stories, Up Close.” On that score, this new adaptation of Stevenson’s pirate classic undoubtedly delivers. Adapted by Hildreth—who’s made a habit of rewriting unlikely classics for the stage (most recently Johnny Tremain)—the play tackles its epic source head-on, omitting little for the sake of theatrical convenience. In Lifeline’s cozy space, we follow recently orphaned Jim Hawkins from an English inn to the high seas, as he joins a ship’s crew on its quest for buried treasure—and soon becomes embroiled in a sword-fighting, rum-swigging mutiny plot. Immense credit goes to Alan Donahue’s multitiered, vaguely ship-shaped set, which takes advantage of the venue’s vertical space to forge the distinct worlds of this freewheeling tale.

Scenic design aside, Treasure Island fits awkwardly on stage. The production is, at moments, a rollicking evening of sword fights, drinking scenes and actors savagely stabbing away (props to fight director Geoff Coates for his intense, fun choreography). Between these moments, however, the piece flounders; humorless scenes jump from third person to epistolary style to flashback, conveying the story economically but contributing little momentum. Though Hildreth includes many ass-kickings, he doesn’t imbue his characters (even nefarious Long John Silver) with much grisly flair.

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