Principled politician: Martin Shaw’s Sir Thomas More in A Man For All Seasons. Picture: Simon Annand
SHAKESPEARE’S history plays still pop up. So too the ancient Greek tragedies and the Jacobean revengers’ tales, yet rarely do they tour, but why not in this turbulent political age?
Theatre should be more than an escape, more than yet another transfer from film to musical, a belief reinforced by the political dramas of David Hare and James Graham and indeed His Last Report, York Theatre Royal’s on-going community play about York social reformer Seebohm Rowntree.
Theatre Royal Bath Productions and Jonathan Church Theatre Productions’ West End-bound revival of Robert Bolt’s witty, wise and waspish A Man For All Seasons only emphasises how there should be a more regular place on our stages for proper, heavyweight political dramas that make us look at the malpractice of our own times.
Latterly in theatreland, Henry VIII has been infamous for his wives’ revenge musical, SIX, conducted like a cross between a pop concert and a rap battle. Harry makes no appearance in that show, where he is given six of the best in pugilistic putdowns.
Gary Wilmot: Comedic star turn as The Common Man in A Man For All Seasons. Picture: Simon Annand
In Bolt’s 1960 play, Henry is restricted to a cameo, a look-at-me, pouting, petulant flash Harry in the manner of Rik Mayall’s Lord Flashheart in Blackadder, but his constant threat, his greater-than-God arrogance, is omnipresent.
Orlando James was absent on press night, but understudy Huw Brentnall did such a fine job that his rowdy, ruthless, buffoonish Henry received pantomime villain boos for all his narcissism, boasting of his best-in-class legs, boat, grasp of Latin (only to be outdone by Rebecca Collingwood’s bright spark Margaret More) and song-writing.
Bolt’s humour, such a strong suit throughout, is at its best here, and all the while, it is impossible not to think of President Trump and his need to be centre of attention, his need for an instant response, his constant craving of change.
By dint of his restriction to one scene, Bolt’s Henry III is a caricature, but the man for all seasons of the title, Martin Shaw’s Sir Thomas More is wholly rounded, a legal brain in the tradition of the brightest barriers, treated with due gravitas by Bolt.
Political intrigue and religious conflicts in A Man For All Seasons, on tour at Grand Opera House, York. Picture: Simon Annand
Shaw had first played him in 2006 and wanted more of his More in 2025 for all manner of reasons: a chance to work again with Jonathan Church after their West End collaboration on Hobson’s Choice in 2016; a return to the beautiful Theatre Royal Bath; his appreciation of Bolt’s writing and his relish for playing More.
At 80, the erstwhile star of The Professionals, Judge John Deed and Inspector George Gently retains stage presence, theatrical heft and the timing and know-how of delivery, but the absence of amplification exposes his voice, which sometimes loses clarity in Act One, although he then over-compensates in his stentorian last speech.
That said, his principled, prayerful Lord Chancellor More, refusing to endorse Henry’s divorce from Catherine of Aragon, is a wholly admirable, decent and dignified figure, sticking to his religious beliefs under the kind of pressure that would have modern-day politicians buckling.
If Shaw’s More is steadfast, Gary Wilmot’s comedic star turn, The Common Man, is the chameleon with the survival instincts of a cat, playing all manner of downstairs roles, from messenger to pub landlord to jobsworth jailor.
Orlando James’s Henry VIII making demands of Martin Shaw’s Sir Thomas More in A Man For All Seasons. Picture: Simon Annand
Each one finds him seeking to outwit yet live off the upstairs world at a price, tirelessly breaking down theatre’s fourth wall in direct address to the audience that recalls Shakespeare’s smart fools. Living on his wits, Wilmot’s Common Man is a radiant joy throughout, cheeky yet somehow never in danger of the chop amid the mayhem of all the political machinations around him.
Central to those machinations, as Henry VIII imposes the Church of England in a breakaway from Rome, is the relentless quest of Henry’s hitman, Edward Bennett’s venal Thomas Cromwell, to bring down More by stealth, applying every trick in the book, bending the truth, with cruel humour to boot.
Church’s direction brings out all the nuances, the intelligence, the lyricism, the delight in verbal jousts in Bolt’s supreme script, and while A Man For All Seasons may feel old-fashioned, right down to Simon Higlett’s dark, austere wooden set, that is only because plays of such depth, such vision, such brio, are too rarely staged today.
A Man For All Seasons runs at Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Thursday and Saturday matinees. Box office: atgtickets.com/york.
