Writer: Robert Bolt
Director: Jonathan Church
A Man for All Seasons is very much a play of its time. It is rooted in the politics of the 1960s and it views the
machinations of the Tudor period very much through that lens. It does mean that it does feel somewhat dated compared with more recent retellings of events from that period. This largely manifests itself through the portrayal of Sir Thomas More as a man unwilling to share openly what is driving him to act how he does. This sets up a barrier between the audience and the central character which, whilst not fatal to the overall success of the text, does make it hard to find all the necessary empathy and sympathy for More.
Martin Shaw has been associated with this play and the character for close to twenty years and his commitment is undeniable. It is clear that he feels a connection to the man and that does help break down some of the barriers inherent in the text. He is well-matched by Gary Wilmot as The Common Man. This role acts as both a spokesman for the working class and a narrator to help fill in some of the historical detail necessary to keep up with events. Wilmot’s natural charm and warmth help him feel less like a narrative device and more of a key player. Together they make for a strong core for Jonathan Church’s production.
Church seems to feel the weight of the text and has encouraged a number of actors to speak quickly in order to keep up the pace of the performance. Whilst speed can achieve this, it does render too many lines too fast to be properly understood. Urgency is what is necessary and the production does not fully achieve this.
It is a handsome staging. Simon Higlett’s set captures the imposing feel of Tudor architecture and wood-paneled interiors. He also contributes richly detailed costume designs that fully capture the look of the period that is so familiar to us.
The casting is equally rich in depth. Edward Bennett is suitably devious and manipulative as Cromwell, his experience with performing Shakespeare shining through. Annie Kingsnorth as Margaret More shows that she has a bright future ahead of her. Her poise and confidence are evident to all and the audience would never guess that she only made her professional debut last year.
Two characters only make brief appearances but also make a huge impact – Nicholas Day is resplendent as Cardinal Wolsey and Orlando James is a brilliantly blustering King Henry. The script only allows each a single scene but they both leave a last impression.
There is no doubting that this is a play worthy of the respectful and polished revival it has received from Church and his team. More recently, explorations of the lives of these characters have found ways of sustaining dramatic tension and the element of suspense that Bolt’s script does not fully deliver.
The audience is still engaged and entertained by the piece and it rightly receives warm approbation and appreciation. It may not be the freshest or most original Tudor history play in the repertoire but it still satisfies our seemingly endless fascination for this period in European history.
Runs until 22 February 2025 and on tour
