Writer: Howard Brenton

Music: William Lyons

Director: John Dove

Reviewer: Leon Paul

The Public Reviews Rating:

Michael Taylor’s white backdrop emblazoned with – amongst other things – the monogram of Henry VIII and Anne Boleyn, a tree-like pillar, and seating as well as the addition of thrust staging out into the pit adorn Shakespeare’s Globe’s stage.

Upon arrival we are greeted by the cast chatting informally to the groundlings and milling about accompanied by the ever present and excellent musicians on viols, bells, dulcimer, virginals and gothic harp. The play begins with a song and a seamless and instant introduction to Anne played by Miranda Raison. Raison plays with the audience throughout, breaking the fourth wall – which is seldom a major feature at The Globe – with confidence, cheek and a twinkle in her eye. The chemistry between her Anne and Anthony Howell’s Henry VIII is palpable. Howell is a far cry from the traditionally gluttonous image one has of this monarch in his later years, and captures the lustfulness of the man, both for life and women.

The feared and somewhat reviled men behind the scenes, Wolsey and Cromwell are portrayed with equally pleasing malevolence by Colin Hurley and John Dougall respectively. Hurley’s Wolsey swaggers and sweats around the stage, issuing demands to anyone he takes a dislike to, helped by Dougall’s terrier-like Cromwell who eventually transforms into the puppet-master whispering lies in the King’s ear and sending Anne to her death.

Special mention must be made of James Garnon’s James I. I am unaware of whether James I suffered from psychological episodes or physical tics, but frankly I don’t care! Garnon’s carefully crafted and beautifully timed performance captured the audience’s attention from the start and ensured that the devise (of James I being the future conduit through which Anne Boleyn is able to affect religious change – and hence the James I bible) was effective.

Brenton’s play connects two major shifts in British religious history – the reformation of the church and the publication of The Authorised King James Bible – whilst using a mixture of Jacobean syntax and vocabulary as well as a more colloquial and contemporary sounding text. These changes in language are subtle in the main and contribute to the interweaving of the two stories alluding to and illustrating the huge linguistic and literary developments that took place across the eighty-year gap between the events.

This production is the world premiere of the play, and it’s comedy, poignancy and socio-political relevance makes it an interesting addition to this season and a slightly unusual though thoroughly enjoyable night at Shakespeare’s Globe.

Photo: Manuel Harlan – Runs until the 21st August 2010

Anne Boleyn - The Globe Theatre, London, 4.4 out of 5 based on 5 ratings

Tags: Anne Boleyn, Anthony Howell, Colin Hurley, Howard Brenton, James Garnon, John Dougall, John Dove, London, Miranda Raison, Southbank, The Globe, William Lyons