The story of the Lady Anne Boleyn has endured and fascinated readers and audiences across the centuries and across the world, even coming to Hamilton, each rendition adding to the understanding of her character and place in world affairs in her time.  

It is a very good tale made more compelling because it is in essence a true story carrying the intrigue and tragedy associated with Anne who championed a radical religious and social agenda. 

This version by Howard Brenton portrays, as you would expect, Anne’s known rise from relative noble obscurity at Henry VIII’s will and pleasure, to royal mistress and then Queen, mother of Elisabeth I, and then her absolute betrayal.  

We are carried deeper into Anne’s critical involvement, at great personal risk, in promoting the cause of protestant reform in a staunchly Catholic England and her persuasive powers with Henry, who adopted the new faith, becoming the all-powerful head of the Church of England. 

Thomas Cromwell, son of a blacksmith, lawyer, risen to be the King’s all-powerful minister and advisor, is revealed as the ruthless, dishonest, manipulating henchman he was, being largely responsible for Anne’s downfall and rendezvous with the executioner. 

The writing and story-telling are competent but there is not the richness in the dialogue which would befit the subject, the historical style and standing of the characters in an age of great writing, music, poetry.  

We are not, as audience, touched by the situation or plight of any of the characters as there are no literary vehicles to convey the emotion of the story. Thus, the tale is carried in a style more like sitcom than literary. 

I am not convinced that the device of Anne’s ghost is necessary or adds much to the telling especially at the start and end of the play, at least it is not well utilised by the writer to best effect. 

The cast delivers the story with great commitment and to the best of their performing abilities as a mix of semi-professionals and non-professionals. The performance flows quite well although a more consistent dynamic pace in delivery and entrances and exits and intermediary action would serve well.

This is a play of words; very little happens by way of dramatic action. Regrettably very few of the cast are up to the vocal challenge of the performance – New Zealand accents do not work in this context, neither do approximations of court style; and there are inaudible moments when some voices erode into domestic speak.

Worryingly, our King Henry pushes his voice down into his throat when required to assert himself in manner and volume. His is, however, a likeable portrayal of a King who later becomes a monster and his quieter moments in the play with Anne draw us in. 

Thomas Cromwell (Jono Carter) dressed more dandy like than the elevated, soldier thug he was, has adopted a formality of presence and speech too refined for his lowly, country origins – whereas the power of his character is more likely to be found in his native cunning; his rough and plain ways. The tendency to play a villain, rather than a rounded character who is devious, ambitious and villainous should have been avoided. 

We needed a greater sense of ecclesiastical gravitas and courtly manner from Cardinal Wolsey (Mark Houlahan) and at least a hint of great wealth – perhaps a jewel encrusted crucifix and chain would have assisted.

Anne (Bronwyn Williams) successfully carries the play and the style of the times and her presence quite well, vocally and in her manner, but could afford to go even further to convey her breeding, to highlight her considerable character, intelligence and strength against the demure manner of her upbringing in a totally male dominated era.  

The piece demands a solid stage presence, a strong expression of character and authority from the key players – these were powerful, sophisticated historical characters – which require a depth of understanding, character building and a developed performance skill that is largely missing in this cast.

Outlawed protestant reformer William Tyndale (Conor Maxwell) adds a quiet, convincing presence.

Of all the characters however, King James I is by far the most interesting, charming, amusing, consistent and convincing. Introduced to the play as a device to reflect on the reputation, deeds and achievements of Anne (living, then executed some 67 years before his reign), he is also portrayed as the historical inheritor of her legacy after Elizabeth I; it is he who consolidated the protestant cause, liberalised religious choice to some extent in his realm and brought the world the protestant bible.

This is a gem of a part for an actor to tackle with a broad scope for showy, eccentric characterisation – King, cross dresser, homosexual lover, drinker, politically astute leader and reformer – and is nicely played by David Taylor.

I would like to have seen greater creativity exerted in the setting of the piece, which is very stark, and more variation and effective use of the stage, the exits and entrances. The tread of the actors moving on and off stage could well be softened as it becomes irritating. A more repressed atmosphere and a much greater sense of threat and betrayal could have been built into the production.

The production values, the choices and limitations around costumes and props were variable, somewhat course and overall disappointing for a costumed drama, especially as we are all aware of the wealth and richness of dress and surroundings associated with the period. 

The telling of this story in dramatic performance needs to be more skilfully directed and the characters better assisted, honed and shaped. However the production does hang together and provides sufficient merit, and insight into Anne Boleyn and the time and world she inhabited to be watchable.

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