Anne Boleyn
Howard Brenton
Directed by Michael Reilly
Tower Theatre, Stoke Newington
Star rating: 4
Anne Boleyn, which dates from 2010 and I’ve seen twice before elsewhere, is Howard Brenton at his sparky, wry best. And under Michael Reilly’s direction this is an intelligent and pleasing production of a fine play.
It isn’t yet another straightforward account of poor Anne’s fate. Rather it explores the effects of the passage of time by setting the play soon after the accession of James I (James VI of Scotland) in the early seventeenth century. Religion, of course, is still very much on everyone’s mind. James is visited by the ghostly Anne there are lengthy flashbacks to the 1530s. And Brenton uses casual 21st century language which heightens both the topicality and the humour.
As Anne, Olivia Reed, making her Tower Theatre debut, is breathtaking. She brings sassiness and a wonderfully knowing way of bonding with the audience complete with the occasional playful hop, skip and a jump. She makes sure that we sense a determined woman (who would do quite well in the 21st century) but who is ultimately defeated and disposed of – except that she’s not because she’s very much alive in King James’s head and there aren’t many people around today who aren’t familiar with her story. Reed shines like a bright star in the role and I hope we see a great deal more of her very soon. She is, according to her programme biography, drama school trained and now seeking representation. I trust lots of agents get the memo and make the journey to Stoke Newington because this is one who more than deserves to be scooped up.
Nick Hone as King James is also making a first appearance at The Tower and he’s good. He makes James as entertainingly camp as one has always imagined him to be: the real James was well known for pederasty. In the play he relishes frocks and begins his passionate relationship with young George Villiers (Celine Barclay) which sometimes distracts him from state affairs. Hone’s use of RP in public but Scots when James is relaxed, in private or drunk is effective and very competently done.
Amongst a generally pretty strong company who work skilfully together Patrick Culhane presents a delightfully seductive Henry. Simon Vaughan’s Cromwell is every inch a wily, worldly, ruthless and timeless politician. As Cecil, Robert Wainwright is world weary, canny and ruefully funny when he addresses the audience directly.
It’s excellent work but I wish, however, they hadn’t chosen the piano (not invented until late 18th century) to provide musical background – written by the director. Maybe it was meant to fudge the timescale still further but it grated on me. The simple Jacobean set (by Dina Benderra) with big oak settle/chest from which Anne initially emerges and crossed swords on the wall is just the job, though.
It runs until 01 August. See it for its clever script and some splendid acting – especially if you’re an agent!
