Anne Boleyn

This play by Howard Brenton, winner of Best Play 2011, makes demands on both company and audience... how to stage the switching time lines and the blurred edges between comedy and drama, while producing an entertainment that requires concentration by the observers to follow the (somewhat dubious) historical narrative. There is a touch of the Horrible Histories in its methods of combining gruesome fact with laughter, in a bawdy and raucous way - so where to draw the line without going over the top into pantomime as the imaginative tale unfolds?  Steps from the floor led to the large fore-stage dressed with timeless ivy-clad pillars L and R. Further wide steps up to the stage, with an elevation of brickwork, had its pros arch of flats painted with a soft woodland of silver birch trees, fronted by heavy stone boulders. This would later provide the setting for scenes separate from the main stage dressing of the interior of a building. Wings to R and L, in front of which stood heavy wooden pillar candlesticks, had painted dado rails topped by tapestries, and further upstage was a low wall repeating the brickwork, through which an opening with steps led to the backdrop - sturdy flats with a stone arch opening at C, another larger tapestry SR and a latticed window SL. The stage area was kept free for the action of the players and accessed from both sides and through the arch as well as Anne’s initial appearance through the auditorium. A studded wood throne and a robust padded armed chair provided the only seating necessary.  Lighting was used, not simply to illuminate, but also to provide atmosphere and highlight pertinent moments. The window UL was lit from behind augmenting the 3D effect of the set. Separating the upper stage from the lower level by the use of semi blackouts allowed individuals to address asides to the audience on the fore-stage in well-focussed spots, and subtle changes in light levels indicated the scene changes on the unchanging set. The use of breakup gobo and green LEDS gave us the required country settings for Anne’s meetings with Tyndale and Cromwell. A special on Henry’s singing to and with Anne, and again as they mourned their dead child, picked out that intimacy, and the carousing at court was suitably bright with all colours lighting all corners. At the end the effect of the lights as James awakens and Anne returns, ghostly in her original costume, was reinforced by the dimming surroundings leaving her in a spot with an appropriate underscore of the defiant I’m Still Standing. The voices were not amplified through microphones, unnecessary in the small theatre, and relied on vocal projection by the actors, who for the most part did a good job. The recorded track inserted for the dance by Henry, Anne and six courtiers was at a comfortable level and the witticism of the anachronistic You Really Got Me was wryly commented on by Henry’s facial expression! The effect of chirruping cicadas and birdsong supported the ambience of the scenes in the woods and the build of voices in the enthusiastic singing of Martin Luther’s hymn worked well.   

An array of elaborate Tudor style gowns graced the stage with enough variety to give us individual characters. The men’s outfits reflected their social standing: from Henry’s grand embroidered doublet, breeches, fine hose and fur-trimmed overcoat, padded to emphasise his expanding width, to James’s more modest beige and gold, or brown velvet suits reflecting the fashion of some 70 years later; from the grandeur of Wolsey’s full set of dominant crimson robes and zucchetto, and Dean Andrews’s impressive white robes, with mitre, to the simplicity of the high status black academic attire of the divines; from the brighter blues and greens of the courtiers, to the russets and browns of the ‘serving classes’ with their thick hose and bonnets, Tyndale in brown leather jerkin. The tall figure of Cromwell in black and purple presented an intimidating foe juxtaposed with Cecil’s subdued olive. The ladies of court sported elegant dresses of all colours with farthingales and decorated French hoods and coifs, with Lady Rochdale resplendent in jewelled cerise. In contrast the countrywomen had plain head wraps above rough dresses of rust with fichus. Anne had an impressive number of changes from her bloodied neckline insert under the simple black pinafore that served as an underskirt for the added overgarments of bejewelled emerald green, and rust and gold with extravagant huge fur cuffs, or bright yellow with slashed sleeves - all beautifully echoing her rise in status. Her smart riding outfit comprised a full length cloak and leather gloves, while her simple white nightgown and cap reflected the frailty of her position as she fails to deliver a son to the determined Henry. The ensemble had some quick changes to do between entrances as monks, maids and guard. There was clear evidence of research and a lot of skilled work in the creation of the detailed wardrobe.  

Anne’s entrance was impressive; playful yet sincere as she teased us with the bag’s contents; set down centre in close enough proximity to the audience to engage in direct conversation. Good use was made of the spacious stage and the fore-stage with the asides from several characters well placed and well delivered to lure us in. Entrances and exits were all carefully executed and well coordinated. Mimed conversations in one area were realistic and discreet enough not to draw the focus from the main action.  Henry and Anne made a handsome pair; having worked together before they displayed a relaxed familiarity in their flirting, with large, expansive gestures, and good eye contact.  The tenderness with which Henry comforted Anne was touching as she demonstrated how desperate she was to please him with a live son. Anne’s conviction in her own religious beliefs and her genuine love for Henry are perhaps not known to many, her brief life and tragic end being the focus of our interest so it was enthralling to see this side of her played out. We saw some lovely rehearsed comic physicality between Sloop and Lady Rochford as she tried to retrieve the banned book in a well staged chase that used the levels, and a credible (and safe) fall when Cromwell threw her to the floor.  The comic activity of James in drag and the subsequent stripping and redressing was perhaps a little milked as he tried to remove the dress but the scene and its chaos contrasted interestingly with the orderliness of the careful grooming of Anne by her ladies. The stately pavane was a good choice of dance for a cast of non-dancers, rather than the energetic and more complicated volta, and presented a neatly performed interlude. 

This was an informative and thought-provoking production, as well as being an entertaining evening, and was much appreciated by the audience.

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