Review by Seth Wilby
⭐️⭐️⭐️⭐️
It’s become very rare to see British history presented on our stages nowadays- the closest current example is probably Six the Musical, but you shouldn’t need me to tell you that the reality had far less sequins. That’s why, when characters walk out in period costumes and speak in authentic language as A Man For All Seasons begins, there’s a sense of intrigue created. Immensely successful when first performed in the 1960s, would modern audiences be able to connect to this Tudor tale?
A Man For All Seasons follows Sir Thomas More, Lord Chancellor to King Henry VIII and one of four Thomas’ we will meet throughout the night (genuinely…it’s like that was the only name available). A staunch Catholic and man of principle, More refuses to assist in the King’s divorce from Catherine of Aragon, and ultimately denies Henry VIII’s religious supremacy- an act of defiance for which he pays the ultimate price.
Robert Bolt’s writing has managed to find the perfect middle-ground between poetry and prose- his words have a natural flow to them, but still feel genuine. Characters are created well, and contrasted even better, with the dastardly Thomas Cromwell distinguishable from More so clearly from just the way he speaks. Bolt has managed to craft an undeniably compelling narrative, keeping grasp of the audience's attention throughout what could easily have become a two and a half hour trudge through political and religious discontent by constructing these historical figures as the real people they would have been, with their maintained stability often a clearer insight into their minds than outpourings of drama would have achieved. While I did enter this with some awareness of the Tudor period, I’ll admit that the production could be far harder to access without a general grasp of history. Although Bolt has managed to introduce a lot of the context gradually, ensuring the plot is never impossible to follow, the occasional historical court or act is never fully explained to the audience, leaving it slightly confusing at times.
When Bolt’s writing is paired with the simplistic direction of Jonathan Church, there’s something about this production that feels transportive. These conversations unfolding in front of you feel like something that could have genuinely occurred 500 years ago. Movements are subtle and the sheer drama of these situations never overwhelms, with Church clearly knowing where the line should be between dullness and dramatics, successfully maintaining the audience even when the plot may appear more tedious- I found myself on the edge of my seat in the final scene depicting More’s trial and execution, a satisfying ending to the fascinatingly enthralling piece. Although Church doesn’t seem to try anything new with the material, or reshape it in any form to suit the themes to a modern audience, it feels admittedly refreshing to see a period piece presented as exactly that, with Church never shying away from the more monotonous realities of the era. The only place this falls flat is in the audience response to the play. Unfortunately, its persistence on realism fails to bring sufficient emotion to the piece, and the play is constantly more informative than emotive, even as More resigns himself to his forthcoming death, which should have been the emotional apex of the piece.
Set and costume design by Simon Higlett similarly understand the need to not do too much, never distracting from the rich words and performances on stage. Higlett’s set could be used to define simple yet effective, with three wood-panelled walls bordering the space and the occasional piece of furniture wheeled in as we move location. A back panel slides in to conceal a fireplace when we leave the warm confines of More’s office, and the back wall gapes open to present us with the scene of More’s execution. Mark Henderson’s lighting does wonderful things for this production, perfectly evoking all the correct feelings through subtle changes in ambience- More’s house has a comforting glow to it, whereas Cromwell’s offices maintain a chilling white light. Some simple blue lighting portrays the ripples of the Thames, and one scene displays a hopeful sunset on the back wall. Often, these changes to set and lighting are hard to notice, but they masterfully manipulate the audience in such a way to keep them in line with the play’s objective.
This cast is led by Martin Shaw, reprising his role as Sir Thomas More from the play’s 2006 West End run, with an air of veteranship aiding his persona of More as a scholar. Shaw has a wonderful sense of the text and has managed to connect to the character in a way that brings both gravitas and subtleties. Although More mainly remains a stable and commanding character, Shaw’s portrayal does allow room for some more depth to arise- as a father, More is an affectionate patriarch, yet, as a politician, he is a logical authoritarian, countering his rivals with a sharp wit which Shaw delivers easily. It is Shaw’s stability throughout the play that makes his performance in the final twenty minutes so masterful, with the small changes in More’s nature easily noticeable signs of hints of fear as he nears his indefinite execution. A performance with any less presence would make the audience question his motives, but, when presented with Shaw’s resolute More, it’s clear that his religious conscience shall triumph.
Shaw is joined by Gary Wilmot as ‘The Common Man’, who charmingly acts as our narrator throughout, donning many different hats (quite literally) as he appears as a servant, boatsman and many more minor characters. Wilmot is an entertainer first, and that could not show any clearer, with the audience consistently in the palm of his hands, chuckling away as they are guided through this tale. For me, however, it was in the final monologue where Wilmot most shined, delivering a truly stirring commentary on the natures of power and principle.
This entire cast slot into the narrative with ease, delivering each line with a thoughtful enunciation and never once allowing the engagement to falter. Abigail Cruttenden and Annie Kingsworth portray Thomas More’s wife and daughter, respectively, providing valuable insight into More’s humanity- the family’s final moments in More’s prison cell provide some beautiful exploration into the different ways people deal with grief. Although distinctly unlikeable, Edward Bennett’s Cromwell does evoke some sympathy when convicting More for treason, with a definite sense that he has no other choice. As Richard Rich, Calum Finlay portrays a subdued fragility when giving a false witness testimony against More, who had once considered him a friend, and, although distinctly unlikeable, Edward Bennett’s Cromwell does evoke some sympathy when convicting More for treason, with a definite sense that he has no other choice. Orlando James is simply wonderful as the arrogantly naive Henry VIII, knowing exactly where to sit on the line between caricature and realism.
I’ll have to admit that I didn’t expect to be so captivated by a play about Henry VIII’s chancellor. While maybe not a thought-provoking spectacle, A Man For All Seasons is a compelling historical play, rightfully rooted in realism, with Robert Bolt’s writing still just as strong sixty years later. Design and direction meet in simplicity, truly proving that, sometimes, less is more.
A Man For All Seasons is on tour, tickets available at the links below:
Tuesday 28 January – Saturday 1 February 2025
Chichester Festival Theatre
Tuesday 4 February – Saturday 8 February 2025
Malvern Theatre
Tuesday 11 February – Saturday 15 February 2025
Cheltenham Everyman
Tuesday 18 February – Saturday 22 February 2025
Oxford Playhouse
Monday 24 February – Saturday 1 March 2025
Yvonne Arnaud Theatre, Guildford
Tuesday 4 March – Saturday 8 March 2025
Marlowe Theatre, Canterbury
Tuesday 11 March – Saturday 15 March 2025
Richmond Theatre
Photos by Simon Annand