Sherwood Forester

Issue 6 - August 2004

Photograph: Mike Smith (June 2004)

Steve Winders recalls two forgotten television versions of the Robin Hood legend.

On British television, two versions of the legendary hero Robin Hood’s adventures are fondly remembered. The first was ‘The Adventures of Robin Hood’, made between 1955 and 1959 and starring Richard Greene. This was Independent Television’s first major success and the 143 episodes were shown for many years in Britain and sold all over the world. I saw a ‘colorised’ compilation of several episodes on Italian television in Summer 2003! The second version was ‘Robin of Sherwood’, made between 1984 and 1986 and starring first Michael Praed and then Jason Connery as Robin. This series, which introduced magic and supernatural elements to the story, also sold worldwide. I saw an episode of this on Sri Lankan television in 1994.

However there were also two B.B.C. versions of the legend that are not nearly so well remembered. The first was a six part serial made in 1953, so it has the distinction of being the first Robin Hood on television. Written by Max Kester and produced by Joy Harington, it starred Patrick Troughton as Robin, with Kenneth Mackintosh as Little John, Wensley Pithey as Friar Tuck and David Kossoff as the Sheriff of Nottingham. Each episode ran for thirty minutes. A talented character actor, Troughton later appeared in several episodes of Richard Greene’s version, playing a variety of roles. He also played St. Paul in a B.B.C. serial ‘Paul of Tarsus’ in 1960 and was the second ‘Doctor Who’, playing the famous time traveller between 1966 and 1969.

Following the serial, the writer Max Kester who was also an accomplished song lyricist, wrote a Robin Hood story ‘The Silver Arrow’ in 1954 for the children’s publisher ‘Ladybird Books’. This proved successful enough for a further Robin Hood story, ‘The Ambush’, the following year. Both books remained in print well into the next decade.

Sales were undoubtedly helped by the popularity of Richard Greene’s series, but John Kenney’s bright colourful illustrations showed a bearded hooded Robin, rather than Greene’s clean shaven hero.

Born in Nottingham, Martin Potter had several significant film appearances to his credit. He had starring roles in Fellini’s ‘Satiricon’ in 1969 and ‘Goodbye Gemini’ in 1970 and he also appeared as Prince Yusupov in ‘Nicholas and Alexandra’ in 1970. 

The series aimed to present the story in a historically accurate background. Several productions of ‘Robin Hood’ have made this claim, but in reality have made no serious attempt to do so. ‘The Legend of Robin Hood’ did make the effort. The outlaws’ costumes were consequently rough and drab, Marion was consigned to wearing long dresses and headdresses throughout the story and there was plenty of mud for everyone to contend with. 

Martin Potter played Robin as a young idealist, fighting for the people against a corrupt establishment and comparisons were made between him and then fashionable socialist heroes such as Che Guevara in several newspaper features which heralded the new serial. The bearded Potter did indeed bear a notable physical resemblance to Che, but Robin’s character was not too anachronistic and Potter tried to present him as a man of his time. However his sincere idealist lacked the humour which has been an important part of Robin’s character since the medieval ballads, which are the first records we have of Robin Hood. Most other actors to play the role have imbued Robin with a mischievous sense of humour and Potter’s interpretation seems much too serious at times. 

Although he was thirty one when he played Robin Hood, Martin Potter presents a young and sometimes slightly uncertain hero. This interpretation contrasts strongly with the previous television version starring Richard Greene, who was a mature, confident and convincing leader, shown to inspire great loyalty among his followers. Potter’s version attempts to reveal a greater depth of character and realism in showing Robin’s doubts and the difficulties he faced in convincing some of his followers that they should rob the rich only to help the poor. 

Ironically in trying to portray a more ‘realistic’ Robin, Potter made the character less convincing. As a man who is able to gain the loyalty of a band of outlaws, Robin must convey a natural authority and be confident and self assured. Nevertheless Potter was a likeable and sympathetic Robin who conveyed great feeling for his followers and for the oppressed poor. 

Filmed on location in the Forest of Dean in Gloucestershire, ‘The Legend of Robin Hood’ tells the whole story of Robin’s career as an outlaw, from being dispossessed of his lands by a power hungry Sheriff of Nottingham and his ally Sir Guy of Gisborne, to his eventual murder. This serial is much darker in mood than other versions, refusing to end with the happy occasion of King Richard pardoning Robin and restoring his land and title, which has proved so popular with film makers. Instead it goes on to relate his tragic end at the hands of Gisborne’s cousin, a Prioress whom he seeks help from, when he is wounded. This incident is well known in the legend, but has rarely been told on film. 

Robin’s death is by no means the only tragedy in this version. In an earlier episode, the Sheriff’s men disguise as outlaws and murder the saintly Bishop of Durham to implicate Robin’s men. The angry people turn on them and Will Scarlet is killed. The very people who Robin has devoted his life to helping turn against him.   

Paul Darrow’s performance as the avaricious Sheriff of Nottingham is one of the triumphs of this production. Unlike other versions, this Sheriff is not constantly thwarted in his evil plans by Robin and he makes a formidable and often successful foe. Suave yet deadly, the Sheriff takes advantage of Prince John’s jealousy of his older brother King Richard to encourage him to overthrow the regent Longchamps and thereby gain more power for himself. Darrow went on to star as the scheming anti hero Avon in the cult science fiction series ‘Blake’s Seven’ two years later and his portrayal of the Sheriff must have been a significant factor in his casting in that role. 

Another notable aspect of the serial is its presentation of Prince John and King Richard. Unusually, both characters are featured right at the beginning of the story, before Richard leaves for the Crusades and the relationship between them is explored. Richard is presented as a hot tempered and slightly unpredictable character and not as the benevolent fatherly figure he appears to be in the brief appearances he makes in most versions of ‘Robin Hood’. John is not so much a villain as a weak and insecure character, anxious to emerge from his dominant brother’s shadow and easily led by the real villains, Sir Guy and the Sheriff. These interpretations of the royal brothers are probably the most historically accurate ever seen in a Robin Hood story. 

The serial was broadcast in an early Sunday evening slot on B.B.C. 1 between November 23^rd and December 28^th 1975, a time traditionally devoted to family orientated serials based on classic stories. The timing around the Christmas period indicates that the B.B.C. regarded this serial as rather special and at the time it was well publicised and well received, selling to several other countries. However it has not been released on video or DVD and this is the fullest article that has been written about it since its original broadcast. Indeed many listings of television versions of ‘Robin Hood’ seem to be completely unaware of it! This is a great pity, for while ‘The Legend of Robin Hood’ does not capture the exuberance and humour that are traditionally associated with the stories, it nevertheless has much to commend it.

So why are these two series forgotten? In the case of the Patrick Troughton version the reasons are fairly obvious. In March and April of 1953, when the serial ran, far less people owned televisions than in 1955 when Richard Greene’s version first appeared. Ironically television sales took off in May 1953, just over a month after Troughton’s serial ended, as the public bought them to watch the June Coronation of Queen Elizabeth II. Additionally the serial only ran to six episodes and these were never repeated, whereas Greene’s version ran to 143 episodes and these were repeated regularly through the nineteen fifties and early sixties. They were very difficult to miss, whereas very few people could have seen Troughton’s version. 

‘The Legend of Robin Hood’ also ran to just six episodes and only particularly outstanding programmes tend to be well remembered after such a short acquaintance. In my opinion the later ‘Robin of Sherwood’ was not significantly better and arguably fell short of ‘The Legend of Robin Hood’ in several aspects, but it ran over three years and for twenty six episodes. All the episodes are available on DVD. It has consequently had much more opportunity to leave an impression with viewers.

I also feel that ‘Robin of Sherwood’ tried harder to be popular. It featured  magic and horror in its efforts to appeal to a 1980s audience. It employed well known guest stars and featured music by the popular Irish folk group ‘Clannad’. ‘The Legend of Robin Hood’ featured up and coming young actors for the most part and opted for reality over style, dressing its outlaws in loose sackcloth when ‘Robin of Sherwood’ chose well cut cloth and leather. While these differences might endear ‘The Legend of Robin Hood’ to those looking for an authentic background to the story, ‘Robin of Sherwood’ played for those who wanted more escapist entertainment, believing rightly that they were in the majority.

Perhaps these four ‘Robin Hoods’ illustrate the traditional difference of focus between the B.B.C. and the Independent Television companies. Both the Richard Greene version and ‘Robin of Sherwood’ were made by independent companies with a clear eye on overseas sales. They were made as series of individual self contained episodes, which is a programme structure devised on American radio and then operated on American television. They also needed to draw large audiences in Britain as independent television is financed by advertisers who will pay more for advertising if it reaches more potential customers. Supported by public money, the B.B.C. does not need to be so commercially motivated. Consequently they would traditionally be more likely to produce faithful adaptations of classic books, without making changes motivated by a need to attract the most possible viewers. If ‘The Legend of Robin Hood’ had been an independent television production it is unlikely that it would have been a serial, or that it would have concluded with such finality. An independent producer would want to leave the door open for further stories to capitalise on possible success.

This is not to suggest that the B.B.C. completely lacks commercial motivation. In recent years they have shown an increasing enthusiasm for commercial success. Sales of programmes overseas and through videos and DVDs bring in welcome funds and a natural desire to compete with their independent rivals has increasingly motivated them since ITV was launched back in 1955, with ‘Richard Greene’s ‘The Adventures of Robin Hood’ being one of the early ITV programmes to beat them soundly in the ratings. By the same token, as the independent companies became established some of them started to produce work that was less commercially motivated. ‘Brideshead Revisited’, a long serial faithfully adapted from Evelyn Waugh’s novel is one of many examples, as ITV challenged the B.B.C.’s perceived dominance of the classics. Nevertheless the different circumstances and motivations of the subsidised B.B.C. and the commercially reliant ITV do account for the different structures and natures of the four versions of ‘Robin Hood’ and the strategies adopted by the independent companies in bringing ‘The Adventures of Robin Hood’ and ‘Robin of Sherwood’ to the screen have been vital factors in both their initial and continued popularity.

Steve Winders

When last we visited the uncanny Scotsman Duncan of Stoneykirk, he was in the Scottish Highlands trying to take a share of the gold that Robin was taking back to England for King Richard.  Despite Duncan’s unscrupulous efforts, and because Robin is far too clever for Duncan, Robin and Friar Tuck managed to return with the gold safely in their possession.  Robin thought he had seen the last of Duncan, but the Scottish nightmare was about to make a return appearance to Sherwood Forest.

The Bagpiper is a genuinely fun and engaging episode – where else can you see Robin Hood playing the bagpipes (I use the term “playing” loosely), wearing a kilt (though Robin refers to it grimly as a “skirt”) and dancing the Highland Fling (actually, giving the “Fling” a good attempt).  I think the writers had fun with this one – but with all the frivolous interaction there is still the element of danger and deception in what is a perilous time in history.

Duncan never makes a quiet entrance, and when his bagpipes have a run-in with Will Scarlet’s arrow (Will mistaking the pipes for a deer’s horns), it signals the return of Duncan.  For all his flaws, and there are many, Duncan is an entertaining rogue.  You know that underneath all that trickery, deceit, greed and manipulation there is a more serious side to his character, a certain loyalty to his fellow Scotsmen and a genuine liking and respect for Robin Hood. 

As with Duncan’s last visit to Sherwood, he overstayed his welcome, causing chaos with his antics, such as blasting his bagpipes as a morning wake up call for the outlaws, his “savory cooking”, and (much to Robin’s annoyance), his continuing interest in Marian, which is quickly pointed out by Will Scarlet.  His visit was wearing very thin on Robin’s patience – Duncan had everyone running around in search of items so that Marian could repair the “wounded bagpipes”.

This was a very light-hearted and fun episode, but mixed with danger and deceit, which is common whenever Duncan is around.  Highly amusing exchanges between Robin and Duncan and Will Scarlet’s humor, both verbal and physical, are always enjoyable.  Highly recommended if you want to enjoy music, dance, cooking and swordfighting.

Join us next time to see if Duncan stays in the Scottish Highlands, or……… 

Lucy Carpenter

The episode opens with Marian riding to Sherwood, where she dismounts and hurries to a clearing.  Robin appears and drops from a tree behind her.

Robin:  “Looking for someone?” 

Marian:  “Robin, I thought you hadn’t received my message”

Robin:  “ I’m glad to see the thought made you unhappy.  Ah, Marian, look, the sun is shining and you’re beside me.  The whole day is ours, now what shall we do with it?”

Marian:  “Robin, I’m sorry, but I sent for you for a very special reason.  We’ve a long distance to travel and a grave problem to meet when we get there”

Robin:  “ No problem can be grave on a day like this”

Marian:  “This is serious, we must go at once”

The next scene opens with Marian and Robin riding together towards their secret destination.

Robin:  “The Castle De La Roche, why on earth have we come here?”

Marian:  “You’ll see”

Robin and Marian then ride up to the castle and through the gatehouse.  

Comparisons of images from the episode and recent photographs show that it is clearly Pencoed Castle and that very little has changed since when the episode was first transmitted, thought to have been the 12^th March 1956.     

However, the next scene shows Robin and Marian entering the main house, and that is where the comparisons appear to end.  Look carefully at the doorway, surely a totally different structure.

Unfortunately it is impossible to access the interior of the main house and as a consequence we are unable to see if any of the interior scenes were shot here.  My own view is that they were not.

During the episode we see the Queen Mother and Marian looking out of a window whilst Robin entertains the guests from France.  Later on in the episode The Sheriff of Nottingham appears with his men and they are seen surveying the battlements.  Neither structure appears to be in keeping with the main house itself.

That apart, featuring in the episode was Pencoed Castle’s most recent claim to fame.

Located close to the village of Llandevaud near Newport in Gwent, the castle is a fortified Tudor manor house, thought to have been built by Sir Thomas Morgan during the early part of the 16th Century on the site of a former Norman castle. The castle was thought to be have been built shortly after King Henry VII came to the throne.

The outer walls of the original fortification are still intact and can be seen in the above photographs.

The inner courtyard of the castle is overlooked by a stone manor house with battlements at the top of the walls.  Unfortunately the interior of the castle currently lies in a state of disrepair and ruin.  Nevertheless, the stonework of the castle is beautiful and comes from a peaceful period within Welsh history.

In 1914 Lord Rhondda purchased the castle and carried out some restoration work, but since his death in 1918 no further work has taken place.  Recent plans for it have included a theme park, however this never materialised (thankfully), and the property is now owned by a local businessman.  At this time the Castle remains largely as it was when Richard Greene and Bernadette O’Farrell made a brief appearance with the crew of “The Adventures of Robin Hood” in 1955.

Mike Smith