by Jim Keaveney.
Henry VIII has found a further collaborator over 400 years after the original Globe Theatre burnt down during a performance of the play in 1613. This new production, directed by Amy Hodge, is billed as ‘written by William Shakespeare and John Fletcher, in collaboration with Hannah Khalil’.
The play covers the period immediately prior to Henry’s (Adam Gillen) divorce of his first wife, Katharine of Aragon (Bea Segura), and his marriage to Anne Boleyn (Janet Etuk), or Anne Bullen as she is referred to here, whilst also tracking the downfall of Cardinal Wolsey (Jamie Ballard).
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Anna Savva and Adam Gillen. Photo: Marc Brenner |
Gillen’s Henry is petulant and childlike, despite his sexual fascinations. At times he seems more of a bad-tempered boy-king than a tyrannical ruler, popping the pink balloons at a gender reveal party that didn’t provide him with the son he so desires. Segura has the most engaging performance, delivering a wronged queen who manages to keep her dignity amidst the chaos. However, other performances are uneven, and some actors struggle with projection.
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Bea Segura. Photo: Marc Brenner |
“Uneasy is the head that wears a crown” and ‘"the lady doth protest too much, methinks" make their way into the text, while Princess Mary (Natasha Cottriall) embodies King Lear as she proclaims, “I will do such things— What they are, yet I know not, but they shall be. The terrors of the earth!” But it’s not exactly clear why these lines have been implanted in the text, other than to serve as a meta-reference to Shakespeare’s better works. The references jar in the moment and their only effect is to take us out of the play and to think of Henry IV, Lady Macbeth or King Lear.
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Adam Gillen. Photo: Marc Brenner |
Henry VIII is at Shakespeare's Globe until 21 October
Jim Keaveney is the lead critic at The Understudy. He tweets occasionally from @understudyjim