A Man for all Seasons – Malvern Festival Theatre

Writer: Robert Bolt

Director: Jonathan Church

The story of King Henry VIII’s chancellor Sir Thomas More is one of a battle between a man’s principles and beliefs against his duty and obedience. The writing of Robert Bolt captures and brings this to life magnificently; what was an award-winning play in the 1960s is still worthy of those accolades today. The play is full of emotional moments and powerful thought-provoking speeches delivered with the perfect amount of skill and passion. The direction and interpretation of these words by Jonathan Church is an exercise in restraint and delicacy, a true depiction of doing a lot with very little: the characters and their voices take centre stage, the messages they are trying to portray are driven home without the dilution of music or overly complicated sets and gimmicks so that we the audience are engrossed and stay engrossed. To support this vision the set designed by Simon Higlett is subtle but effective with sections of the backdrop changing to reveal a fireplace, bookcases or terrace when needed, whilst elements of the foreground are moved and replaced by members of the cast and ensemble, in particular Gary Wilmot’s character The Common Man.

The performance of the entire ensemble is one to be admired and celebrated, each time one of them appears they leave an impression on the production whether through the raw emotion on display or the power of the line delivery. Leading the way for the cast is Martin Shaw, a much-beloved television and theatre actor, who first portrayed Sir Thomas More in the early 2000s, who brings all that experience and uses it to great effect. His depiction of More as a scholar, statesman and family man is reflected in the layers of complexity in his performance, one moment he delivers his lines with delicacy and nuance and the next with ferocity and gravitas. In a play that explores the idea of silence and the effects of one man staying silent against all odds and opposition we can be thankful that Martin Shaw still speaks and allows us to enjoy it.

Supporting Martin Shaw is an excellent ensemble all worthy of recognition with a standout performance from Gary Wilmot, who plays the play’s narrator named simply The Common Man, who at different moments in the play dons different hats both metaphorically and physically to play the roles of servant or boatman as well as gaoler and others, in order to remain present during important moments, before passing on that information to the audience with never-ending charm and wit that cuts through the tension and leaves the audience having a chuckle. He also does a great job of delivering the historical information required to understand the time in a way that is approachable, occasionally pausing to remember information showing us all that it is okay to be human and not just a machine reciting data.

Other noteworthy performances include Edward Bennett’s depiction of Thomas Cromwell, a lawyer driven by fury to the brink of madness to bring an end to Thomas More’s silent rebellion and the real villain of the performance. The best compliment that can be given in this instance is that he is foul, arrogant and egotistical, exactly what is needed to properly portray Cromwell; scenes that include both More and Cromwell, are a battle of giants both delivering speeches that are award-worthy and oh so absorbing. The performances of More’s family Alice and Margaret played by Abigail Cruttenden and Annie Kingsnorth respectively add a much-needed layer of gentleness and compassion to an otherwise politically-weighty and serious play. They bring out More’s vulnerable side and show the human behind the statesman. As the performance goes on the emotions on display multiply, with Kingsnorth showing huge loyalty to More’s principles only faltering at the eleventh hour and giving a sorrowful and impassioned plea to him that brings a tear to many a dry eye. Whilst Cruttenden’s performance is tainted by an air of selfishness, thinking of herself and her lifestyle that adds a modicum of anger and resentment to her sad and mournful performance.

A Man for All Seasons continues to be a play worth seeing, withstanding the test of time, this is a masterful production that brings a significant period of our history to life. And though its cast may change, the passion and emotion of their dialogue always hits home, the anger at a man’s wrongful persecution, the sadness of the family and the occasional humour of a man just trying to make his way in the world with a smile and an outstretched hand.

Runs until 8 February 2025 and on tour