‘Treasure Island’ is well done, but it’s the wrong play for right now

There was no such thing as “YA literature” when Robert Louis Stevenson wrote “Treasure Island” in 1883, but it would have been an apt designation. That term applies to novels directed at teen readers, usually featuring a young protagonist who has a coming-of-age experience. Think of “The Hunger Games” or the “Twilight” series.

It may have been originally serialized in a magazine called “Young Folks,” but much of “Treasure Island” is not at all for the wee ones. Stevenson’s pirates are a frighteningly murderous and totally untrustworthy bunch, thriving on threats and duplicity. The kind of folks a parent might want to hold off on introducing to an elementary school student.

Which leads me to Children’s Theatre Company’s extremely well-crafted season-opening production of “Treasure Island.” While advertised by CTC as “best enjoyed by everyone 8 and up,” it seems designed for boys at least a few years older than that. It can be very intense and there are several instances of violent death involving guns, knives and blood. It’s one thing for a child to see such things on a screen, but quite another to witness them in the flesh.

That’s probably why Saturday afternoon’s audience was significantly smaller after intermission. This is the kind of show that, if a child says that they want to leave, it would be best if their accompanying adults follow their wishes. For it only gets worse in Act Two.

Add to the equation that Children’s Theatre Company stands five miles away from Annunciation Catholic Church, where a recent mass shooting of a group of schoolchildren surely inspired a lot of family heart-to-heart conversations. Violent death is a lot more real to local children now.

So, as much as I admire Stuart Paterson’s excellent adaptation of the novel — as well as the vivid characterizations from the 13 actors and the imaginative set design of Christopher and Justin Swader — I concluded this was simply not the right time for this story. This is the first CTC production helmed by its new artistic director, Rick Dildine, and his heart was surely in the right place in presenting the tale of a teenage boy who dreams of adventure and rises to the occasion when heroism is required.

But daggers are being held to throats during angry exchanges from the first scene onward, and it isn’t long until the body count mounts as greedy pirates dispose of their colleagues in order to execute a successful mutiny and increase their share of the pursued booty.

And if this is intended as a story about mentorship, the relationship between young Jim Hawkins and the pirate Long John Silver is a troubling one. Reed Sigmund delivers a tour de force as Silver, a scene-stealing bundle of charm, rage and deceit who displays a kind side to the boy that you can never be convinced is genuine. And Mason Yang — who shares the role of Jim Hawkins with Truman Bednar — ably guides us through our protagonist’s transformation.