What do we really know about pirates? Are our impressions shaped more by old tales from history or by the swaggering antics of Jack Sparrow in Pirates of the Caribbean rather than the gritty reality of life at sea? Having read Treasure Island by Robert Louis Stevenson, I’m familiar with the infamous Long John Silver, a character both charismatic and cunning, seen through the wary eyes of young Jim Hawkins. But is Silver truly the villain Jim paints him to be? Or is there more to his story than mutiny and menace?
Silver and Gold, staged by BrotherWolf Productions, offers a compelling twist: the tale is told from Silver’s own perspective. And as we know, when people tell their own stories, they often challenge the way others have portrayed them — especially when the portrayal is less than flattering. In Silver’s eyes, the real treasure isn’t doubloons or buried loot, but the ship itself. Gold, he insists, is the vessel — and in this case, it’s the stunning replica of Sir Francis Drake’s Golden Hinde, moored beside the Thames in London.
The performance takes place on the lower deck of the ship, a cramped and atmospheric space that immediately immerses the audience in the claustrophobic reality of seafaring life. It’s hard to imagine a full crew operating in such tight quarters, but tonight there were less people in the audience for the staging of this theatrical production. Yet the setting adds a layer of authenticity and intimacy that a traditional theatre simply couldn’t replicate. From the moment we were seated, we were no longer mere spectators — we were Silver’s new crew.
Silver, played with formidable energy by James Hyland, commands the space with a mix of threat, and theatrical bravado. He lays down the rules of pirate life, warning us of the dire consequences of disobedience. His tale takes us to Skeleton Island, introduces us to his skull talisman — a gift from one of his many wives (though he’s suspiciously vague on how many there actually are) — and reveals his belief that Jim Hawkins wrote a book about pirates under a pseudonym. This book becomes a prop through which Silver engages the audience, selecting members at random and assigning them names and roles from its pages. It’s a clever device that blurs the line between fiction and reality, past and present.
Hyland’s performance is intense and often unsettling. He uses Brechtian techniques to break the fourth wall, provoke reactions, and challenge the audience to participate. At times, his booming voice and sudden movements startled those in the front row, adding a layer of unpredictability that kept us all on edge. His portrayal of Silver is not softened or romanticised — he is menacing, manipulative, and magnetic. Yet there are moments of humour and vulnerability that hint at a more complex character beneath the bravado.
The production is a one-man show, and Hyland’s ability to hold the audience’s attention throughout is impressive. The pacing is taut, the storytelling vivid, and the use of the ship’s architecture — from the creaking timbers to the echoing deck — enhances the immersive experience. It’s a shame that Silver and Gold was only staged for one night aboard The Golden Hinde. The setting is perfect, and the performance deserves a wider audience.
This is not a show for young children — the themes and tone are dark, and the intensity and ferociousness might be overwhelming for some. But for those with a love of theatre, history, and storytelling, it’s a rare treat. I sincerely hope BrotherWolf Productions secures funding to continue performing Silver and Gold. But tonight, experiencing this tale aboard such a historic ship, right in the heart of London, was a delight — a theatrical voyage worth taking.
Silver and Gold, one night only.
Reviewer - Penny Curran
On - 5th November
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