Ellen Geer on Directing "Treasure Island" at Theatricum Botanicum

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On stage June 20th through October 3rd, 2026.

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Treasure Island , the quintessential coming-of-age adventure story by Robert Louis Stevenson , sails off the page and onto the outdoor stage at Will Geer Theatricum Botanicum, where the rustic beauty of Topanga Canyon effortlessly transforms into the wooded island of the title and the vast expanse of the high seas, with outdoor performances June 20 through October 3.

In this re-imagining of the novel by Theatricum artistic director Ellen Geer , who also directs, a young man’s romantic dream of pirates on the high seas becomes a harrowing reality. Tested at every turn, young Jim Hawkins (played by newcomer Ruben Jones) faces each challenge with courage, trusting in a moral compass strong enough to triumph — and to discover the true treasure: a life lived with integrity and purpose.

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I spoke with the always-busy Ellen Geer (pictured) about her vision for the production, what drew her to adapt it for Theatricum Botanicum, and what she hopes audiences will love about the story as much as she does.

Thanks for speaking with me, Ellen. First, what drew you to adapt Treasure Island ?

Treasure Island is a classic adventure story. It follows an innocent teenager who finds himself immersed in the fascinating but dangerous world of pirates, unaware of the corrupt values that lie beneath its allure. Teens are naturally drawn to risk-taking, and young Hawkins's overwhelming journey opens up the world for him. He must confront what he might become, what it is dangerous to become, and how to navigate the life-and-death choices that ultimately shape his character. By witnessing the consequences of the pirates’ false codes and distorted morality, he learns to define his own values.

Ruben Jones as Jim Hawkins Photo by Ian Flanders

What aspects of Treasure Island felt most important to preserve, and where did you see opportunities to reimagine the story for contemporary audiences?

I remain true to the powerful novel. It is Jim’s story, and I’ve retained many of the narrative passages that reveal his inner struggle to understand the people and situations he encounters. By speaking directly to the audience, he forms a personal relationship with them and invites them into his journey.

I did make a few changes: I changed the gender of the abandoned pirate Ben Gunn to Jen Gunn, and I added a young orphaned child taken in by Long John Silver who is also struggling to understand the world and make meaningful choices. These additions broaden the range of audience members who can identify with the story.

Gerald C. Rivers and Jessica Williams Photo by Ian Flanders

You describe Treasure Island as a coming-of-age story in which Jim Hawkins discovers that the real treasure is a life of integrity and purpose. Why do you think that message resonates so strongly today?

We're living in a world where compassion and morality are increasingly pushed aside by power and greed. Seeing a young innocent hold fast to the simple values instilled in him by his working-class mother is invaluable, particularly in a time marked by hostility toward immigrants and marginalized communities.

Jessica Williams and Ruben Jones Photo by Ian Flanders

You’ve said that declining readership among younger generations inspired part of your approach. How can live theater serve as a gateway to classic literature, and what do you hope young audiences take away from this production?

Screens diminish imagination. You sit and stare at images and receive sound from a single source. Reading expands the imagination. You are alone with the page, interpreting words and creating your own images. You can stop, reflect, and engage actively with the story. Theatre is entirely different. Your eyes are constantly moving. Sound and actors come from all directions. You engage all of your senses while sharing a live experience with strangers. I worry that our constant immersion in the digital world can diminish the curiosity, exploration, and imagination that are essential to growth.

Ruben Jones and Gerald C. Rivers Photo by Ian Flanders

The natural setting of Theatricum's outdoor amphitheater seems uniquely suited to a story of adventure on the high seas. How did the Topanga Canyon environment influence your staging and storytelling choices?

Theatricum Botanicum lives within a live California Oak forest. There is an underground spring that feeds the Canyon. Nature abounds. Our wooden stage is large and can hold the boat, the Inn and the Island. The night sounds of frogs and crickets only add to the story. The set design is the space.

Long John Silver remains one of literature's most fascinating and morally complex characters. What was your vision for portraying him in this production, and how does Gerald C. Rivers bring that vision to life?

Gerald C. Rivers as Long John Silver Photo by Ian Flanders

Gerald Rivers has a uniquely open and engaging way of communicating with an audience. He has been a company member for many years, and whatever role he takes on, he brings authenticity and truth to it. The audience needs to be drawn in by Long John Silver and enjoy the ride before fully realizing the extent of his manipulation. He wants to control every aspect of his world, and he has no qualms about committing murder to achieve his goals. He is a fascinating character study because his most dangerous manipulations are often the hardest to spot.

Adventure stories often rely on action and spectacle. How did you balance the excitement of pirate battles and treasure hunts with the deeper emotional and ethical journey of Jim Hawkins?

I think that balance already exists within the novel itself. My job as an adaptor was to honor and reflect what Stevenson created. We are a company of actors who collectively build every environment. We sing the songs of the period, stage the fight scenes, fire the cannon, and evoke both the sea and the island. Through the art of theatre, we bring Jim’s world to life and place the audience inside his moment in time.

Ruben Jones and Jessica Williams Photo by Ian Flanders

Theatricum is known for presenting both classic and socially relevant works. What connections do you see between Treasure Island and the broader themes that have long defined Theatricum's artistic mission?

Young people need to see Jim’s journey, and so do their parents. Questions of compassion, understanding, and personal responsibility run throughout Treasure Island. The story continually asks how we make decisions that shape our lives and define our character.

As both artistic director and adaptor/director of the production, how do you approach introducing a beloved literary classic to audiences who may already have strong expectations about the story and its characters?

That's the wonderful thing about great literature—people's expectations are shaped by their own imaginations. Their vision of the story comes from their experience of reading the book, or perhaps from one of the many film adaptations. My responsibility is not to worry about whether our version matches those expectations perfectly. It is to help keep great stories alive. As long as we continue sharing them with new generations, they remain vibrant and relevant.

Gerald C. Rivers and Ruben Jones Photo by Ian Flanders

With over 20 members in the cast, h ow do you organize rehearsals to accommodate conflicts with such a large number of actors?

We can only afford 60 hours of rehearsal under our repertory Equity contract, while producing four to five plays in a six-month season. We review conflicts before casting and rely on understudies drawn from our Apprentice and Prepp programs. Rehearsals are scheduled in the evening, so that actors with day jobs can attend. Once productions are mounted, each play performs only once a week. If an actor books a higher-paying film job, we have understudies in place so they are free to take that opportunity. Our education department also provides paying work for many of our actors. This is our 53rd year, and the next generation is already carrying the work forward. That tells me we must be doing something right in serving actors, students, audiences, and the theatre community.

This production is part of Theatricum's unique repertory season, running alongside Shakespeare and contemporary plays. What role does Treasure Island play within the larger conversation of this year's season, and why was this the right time to bring it to Theatricum audiences?

Treasure Island is one of the great treasures of literature. At a time when so much of our attention is devoted to the digital world, reading is becoming less common. Perhaps seeing this production will inspire someone to pick up the novel, or encourage a parent to introduce it to their child. And if one of the many film versions isn't available, come to the theatre and experience the story live and in community.

Jessica Williams , Gerald C. Rivers , and Ruben Jones Photo by Ian Flanders

Theatricum has a rich history rooted in artistic freedom and community engagement dating back to Will Geer 's founding of the theater. In what ways do you see parallels between that legacy and the themes of courage, independence, and moral conviction that run through Treasure Island ?

It takes wily guts to keep a midsize nonprofit repertory theatre and educational organization going . But institutions like ours create community and provide artists with a true theatrical home. The arts help build a more thoughtful and compassionate society. They challenge us to examine ourselves and our world. As Shakespeare reminds us, “What fools we mortals be!”

Is there anything else you would like to add about yourself or the production?

Thank you for helping bring attention to our production and connect it with a larger community. The work you do and the questions you ask are an important part of our shared commitment to keeping theatre alive.

Thanks so much! I look forward to seeing the play!

Treasure Island opens on Saturday, June 20 at 7:30 p.m. and continues to run in repertory through October 3. For a complete schedule of performances, visit the website . Tickets to performances range from $15 to $63. The performance on Monday, Aug. 10 is Pay-What-You-Will (available online the week of the performance or pay cash at the door) and features a 30-minute pre-show discussion, beginning one hour before curtain at 6:30 p.m. at Will Geer Theatricum Botanicum , located at 1419 North Topanga Canyon Blvd. in Topanga, midway between Malibu and the San Fernando Valley .

Treasure Island will run in rotation every weekend with Shakespeare’s Romeo and Juliet and A Midsummer Night’s Dream , each of which opens earlier in the season. Two additional productions, Waiting in the Wings by Noël Coward and The People of Pompeii by Bernardo Cubría, will join the repertory season on July 11 and August 1 respectively. Unlike most companies in L.A. that stage continuous runs of a single play, Theatricum operates in true repertory. Each of the five mainstage productions opens in rapid succession and is added to the rotation. By August, all five plays are in performance, making it possible to see the entire season over the course of a single week. For more information and to purchase tickets, visit https://theatricum.com/repertory-season/ or call (310) 455-3723.

The amphitheater is terraced into the hillside, so audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating. Pa

_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/los-angeles/article/Interview-Director-Ellen-Geer-on-TREASURE-ISLAND-at-Theatricum-Botanicum-20260612)._