The Highwayman stood and delivered a pistol-packing finale to the Roman Theatre Open Air Festival. 

A joint production between OVO, founders of the festival, and the Norwich Theatre, The Highwayman is a brand-new musical by Kitty Morgan. 

Based on the poem 'The Highwayman' by Alfred Noyes, it demonstrates life in the 17th century in riotous fashion – and demonstrates how little some aspects have changed today. 

The play tells the story of highwayman Claude Duval who, like so many gentlemen of the road, paid for his crimes with his life. 

It focuses not just on Duval’s law-breaking occupation but also his love life, particularly with barmaid and heartbroken mother Bess. 

It is a rollicking musical, packed with memorable songs, some witty and fun, others sad and emotional. 

And through it all key themes emerge, not least the role of women in the era of Charles II. They are exemplified on the one hand by Bess and her London counterpart Rose, and on the other by the flighty actress Nell Gwynn, used to wealth and riches through her relationship with the King but still treated as a plaything by men. 

Directed by OVO’s founder, Adam Nichols, the themes that run parallel to today including the desire to climb up in the world, are seamlessly introduced. 

Adam has come a long way from those early days of OVO where plays were performed in a back room in a St Albans city centre bookshop. 

He is now, quite rightly, regarded as a top-flight director with a talent for all forms of theatre, from musicals to Shakespeare. The Highwayman only serves to reinforce that accolade. 

Kevin Wathen is perfectly cast in the role of Duval, a roguish highwayman with an eye for the ladies yet still able to care for his daughter Peggy, played convincingly by Natasha Spencer-Levy. 

Kevin switches easily from scoundrel to lover using his powerful voice and first-rate acting skills. 

As in other OVO shows before The Highwayman, he is at risk at times of being overshadowed by Guido Garcia Lueches as his friend and partner in crime Thomas French, a character, perhaps wisely, who does not appear in the poem.  

It is a much smaller role and one could argue an unnecessary one but imbued as ever by Guido’s flair for exaggeration and comedy. 

And Josselyn Ryder, making her OVO debut as Bess, is at her best when singing about her heartbreak at the loss of her child. A truly moving moment. 

As ever, the remainder of the cast were excellent with many showing their musical skills playing instruments onstage.

They were backed by musical director Adam Morris whose piano playing throughout was exemplary and carried the production along. 

And so The Highwayman gallops away into the sunset of another open-air festival, over for this year but not forgotten.