Magna Carta

Ciaran Barata-Hynes’ adaptation of the historical event of the signing of the Magna Carta is the perfect play to stage within the walls of the Parrot Inn. With the public’s current penchant for “historical drama”, this production proved to be fresh and relevant to the modern theatre audience as well as perfectly pitched for the historians among us.

A tale of coercion, justice and social standing, this is no easy lesson in the teachings of the charter. In fact, even though it was laced with humour, it really packed a punch.  The Magna Carta is one of the most important documents in history as it established the principle that everyone is subject to the law, even the king, and guarantees the rights of individuals, the right to justice and the right to a fair trial. In the following play, we follow the thoughts and feelings of King John of England at Runnymede, and those around him, just before his signing of the famous document

The staging of a new production like this could be tricky but director Elliot D Huxtable knew exactly how to use every inch of the medieval banquet hall (above a delightful Canterbury pub) to best suit the production. He created pockets of acting spaces for the company in various areas by keeping the set simple, hanging some very attractive drapes and using the entire space for entrances and exits. Minimal props and furniture were suitable for the piece and the sound was generally consistent throughout. I especially enjoyed the eclectic choice of music used through this production. Costumes were suitable for the time though some of the smaller details needed a little more polish for example period hairstyles when in period dress.

Right from the beginning, Alex Rose had a great presence as Peasant and worked well with all the characters and audience alike. He gave the character both a strong and humorous side and it was lovely to watch him switch between the two. Something to work on in the future would be diction as it was difficult to hear some of his lovely lines at times throughout the performance.

Sarah Lockyer, as the calm and collected Archbishop, helped move the story along in an extremely confident and stoic manner. She was clear and confident throughout and showed a good stage presence. You could tell she was a member of the cloth by her demeanour. Harry Buckner as Des Roche, although obviously a good actor didn’t seem to find his comfort point within his character portrayal. His status fluctuated throughout which made it a little harder to follow his character’s intent.

D’Aubigny, played exceptionally confidently by Ben Holliday, captured the audience’s attention right from the start.  His body language was well observed and you were rooting for him from the off whether you agreed with him or not! A larger than life and exuberant performance.

Charlotte Groombridge, as Fitzwalter, was well cast – bringing the angst of the character to the forefront of her portrayal. She embodied the physicality of the role as well as tackling the language with a variety of tonal qualities that were suitable to the mood the character was feeling. This was a very secure and well-balanced performance.

Rosie Earl was suitably forthright as Isabella. She managed to push the King’s buttons and get what she wanted from a situation. Her diction was clear and precise and showed lovely light and shade, though her body movement betrayed the status to which she held in society. To marry these areas up would be something to think about for the future.

Last but by no means least; Ciaran Barata-Hynes gave a first class performance as conflicted King John. Perfectly cast his interpretation of the role was outstanding, particularly his interactions with Archbishop and Fitzwalter. A very confident and convincing portrayal, Ciaran displayed a gamut of emotions throughout and took us on a roller coaster of a journey. You were with him all the way.

This play is a pleasure to watch – and you don’t have to be a historian to enjoy it! Continue to be brave and try new things. It really does pay off.  

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