A MAN FOR ALL SEASONS
Photo: Simon Annand
Tudor England, an age of British history that is perhaps the most familiar, the one that generation upon generation has been taught at school, an era that has fascinated novelists and playwrights again and again. It’s hardly surprising, the actions of Henry VIII and those around him gave rise to the fragmentation of Britons from the nobility to the common man.
Gary Wilmot, Photo: Simon Annand
And in Robert Bolt’s 1966 play he places the common man front and centre, narrator and player of all those lower class and subservient roles in this story of morality and conscience. And here in this new and West End bound production we are treated to the talents of Gary Wilmot. Who could better capture the gentle comedy, that sense of resignation to his place in society, whether servant, gaoler, boatman, juror or executioner. Wilmot, probably better known for playing lighter roles, is simply wonderfully skilful and balanced in this performance.
Martin Shaw, Photo: Simon Annand
Martin Shaw is perhaps best known for his many TV roles starting with The Professionals back in the mid 1970s. But here he secures his place as a very fine stage actor indeed. His presence from the very start has a gravitas and clarity that sets him above the ordinary. Sir Thomas More is here played with a sense of understated calm. His intellectual prowess delivered gently and with not a breath of arrogance. This is a measured performance of majestic quality – majesty that plays out so beautifully in the scene when confronted by a desperate King Henry VII. Orlando James is a perfect contrast to that calm and resolute courtier, foolish, vain and entitled, in the real sense of that word, he badgers and bullies More, but in doing so strengthens More’s resolve.
Edward Bennett is Thomas Cromwell, the King’s conniving chief minister, determined to see the downfall of More by whatever means needed. It’s a darkly played role, his determined process delivered with sardonic humour, charm and deadly intent.
Abigail Cruttenden plays Alice More, the wife who rattles out her pleas to her unmoving husband for fear of not only losing him but also her place in courtly society. Those lines so sharply delivered, so rapid and yet never once losing clarity of diction, and this is a common attribute for this entire company, precision throughout, every word audible and I suspect without any amplification.
Callum Finlay’s Richard Rich is sharply observed, a weasel of a man, self motivated and easily corrupted. Rebecca Collingwoods Margaret More is equally well observed, truly understanding of her father, loyal and loving… and yet when faced with the realities of her father’s destiny she falters, a moving portrayal of familial love.
Timothy Watson’s delivery of Norfolk perfectly displays the conflict of divided loyalty and Sam Phillips makes William Roper and his changing loyalties very real. In total not a weak member of this exemplary company in a genuinely masterful piece of writing.
Jonathan Church as director has created an evening of classic and classy theatre and Simon Higgett’s fine set and lavish period costumes add wonderfully to the whole, the simple transitions, finely rendered linen fold panelling and the minimal furnishings and props allowing the actors to inhabit their roles unhindered. A word too for Mark Henderson’s beautifully reserved and observed lighting, the darkness of period interiors realised and yet every face lit with pin-sharp precision, and it must be said, every actor hitting their spot to be so finely illuminated.
This is aN exemplary production that captivated the audience who were still and silent, except rightly for those comic moments, throughout – a five star audience.
Andrew Kay
22 July
Theatre Royal Brighton
Rating:
