Review: Henry VIII, Milton Court Theatre

Henry VIII is one of the best-known English kings. Eight wives, invented divorce, died of gout – a trifecta of facts that most primary school classes could recount. In Hannah Khalil’s adaptation of the story, Henry’s first and second wives, Katherine and Anne, are at the centre of events. When Henry decides his marriage, which has produced no sons, must be annulled, Katherine fights back.

The technical aspects of this production are wonderful. The stage is divided horizontally by sumptuous red curtains that rise, fall and swag in various iterations between scenes. This not only makes the small space seem far larger, but lends – for lack of a better word – a sense of royalty to proceedings. It’s not hard to imagine that we are in a palace room, or, when the excess is removed, in a cold, bare chamber.

Lighting design by Ed Freason is occasionally over-egged but never under-dramatic, with backlighting, poignant spotlights and a warm orange glow telling as much of a story as the actors. Casey Howson‘s sound design occasionally feels incongruous with events, snippets of music abruptly fading in and out without obvious reason. Unsettling whispers around the audience during moments of tension are, however, chillingly effective.

What stands out most, though, are the costumes. From Henry’s giant sleeves to Anne and Katherine’s voluminous gowns, it’s a feast for the eyes – and a great advert for buying a big fluffy coat.

For many, Shakespeare’s works have a reputation for being impenetrable rather than entertaining. If actors don’t understand the words they’re saying, or capture the right rhythm of speech, soliloquies can come across as gibberish rather than greatness. In this Henry VIII, all those involved avoid those pitfalls. Conversations flow, sentiments are successfully expressed and the narrative, even for those unfamiliar with the ins and outs of the story, is easy to follow.

Humour is often the first victim of a poor adaptation, but here use is made of every cheeky aside and comic moment. This is particularly effective with the servant characters, who provide commentary on events and gossip about stately goings-on. Tashani Bent as Hope and Anthony Graham as Chamberlain are particular stand-outs with their comic delivery.

As leading man, Theo Burns balances viciousness and vulnerability as the king decides to annul his marriage with Katherine (Aisha-Mae McCormick). It’s a role that could fall flat in the wrong hands, but his portrayal of Henry’s compassion for his wife and offhand cruelty give enough depth to be compelling.

In many ways, this is a play about Mary (Maya Sivagnanam). She’s present in the majority of scenes, hidden under a table or sat at her mother’s knee, desperate to become king herself one day, although there are barriers in her way. First, Henry wants a son to inherit the crown. Second, there is a dastardly plot at work to usurp the Tudor throne. Sivagnanam portrays her childishness, excitement and despair convincingly, her Mary a valuable addition to this adaptation.

There are some bumps along the road for this production. There’s a binary sense of emotions, passages either high-octane and tense or fairly subdued without much segue between the two. While both states are well-expressed, they lose their potency when there’s nothing between the extremes. At other times, accents vary in intensity to a slightly distracting degree. Most disappointing is the play’s ending, which feels both anticlimactic and rushed.

Despite these issues, this is a very watchable, well-executed show that gives new life to one of Shakespeare’s lesser-known histories. Not only an interesting exercise in historical reinterpretation, this is a chance to see some of Guildhall’s up-and-coming talent spread their wings.

Written by: Hannah Khalil
in collaboration with William Shakespeare & John Fletcher
Directed by: Owen Horsley
Design by: Ryan Dawson Laight
Lighting design by: Ed Frearson*
Sound design by: Casey Howson*
Movement direction by: Depi Gorgogianni
Intimacy Direction by: Haruka Kuroda

*Student on the BA Production Arts programme

Henry VIII has completed its run.