| Katherine Howard |
by William Nicholson9 - 18 July 2009
From the author of Shadowlands, this is a strongly crafted work in defence of Henry VIII 's fifth wife. Opening on the wedding night of Henry and his fourth wife, Anne of Cleves, it is soon clear that the marriage will not last. To obtain advantage for his family, the Duke of Norfolk plans to install his niece, Katherine, as Henry's fifth wife. Their subsequent courtship, marriage and her fall from grace, leading to her execution after being accused of adultery, are covered in a tender and sympathetic manner underscored by the political intrigues, plots and betrayals of the times and the religious changes taking place in Tudor England. An entertaining and thoughtful play of pure theatrical magic.
24 July 2009
Theo Spring
Spellbinding - the combination of a fascinating script, acting of the highest calibre, glorious costumes and excellent direction by Ian Grayson produced a fitting finale to the Miller Centre's season of plays.
Based on the history of Henry VIII's fifth queen, playwright William Nicholson creates a Katherine less of a flibbertigibbet than history records and Rebecca Perfect made her demure, sincere and obedient with just that spark of outspokenness which is what appealed to a king where sycophancy ruled
Larger than life, of course, Brian Miller's Henry at 50 was less of a tyrant and more demanding of our sympathy as he dealt with the constant pain and smell of his open leg wound. Bringing the monarch to life and constantly on stage, Miller's interpretation was a tour de force with its complex pendulum emotions.
The Duke of Norfolk, Katherine's uncle, and Archbishop Thomas Cranmer held the play's intrigue and manipulation. Peter Whittle's Duke, who sees opportunity for power for the Howards and security for his religion, plotted, wheedled and commanded, according to his audience - a forceful personality well characterised. Obsequious and holy yet with a mind able to entertain malevolence when necessary 'for the good of the church', Peter Damesick created a Cranmer in tune with our view of Tudor times, using the gullible Lady Rochford (so well envisaged by Dom Mountain) as his accomplice.
Paul Hudson was the fated Thomas Culpepper, delightfully romantic and strong in adversity. Emma Ladd's Anne of Cleves was charming rather than the dour German of history and Mary-Rose Goodliffe's cameo of Mrs Hall was suitably garrulous.
As a contrast, Sir Thomas Wriothesley (Philip Mills) was a man of few words and secretary William (Tony Richardson) breathed sadism into his small role. Guards and maidservants added diligent royal pomp
The basic black set used the revolve and splashes of high colour to great advantage allowing the elaborate rich costumes full appreciation, particularly Henry's and the two yeoman of the guards.
Had I more stars to award, I would. This was an amateur production to professional standards for which everyone involved should take a deep Tudor bow.
5 stars
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