20/05/2023
A lovely Review from Jordan Jones.
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| NEW REVIEW |
Lighthouse Theatricals, one of Ōtautahi’s newest theatre companies, is starting off strong with their visually stunning production of Robert Bolt’s play A Man for All Seasons.
Jordon Jones wasn’t able to make opening night, but did manage to secure a third-night representation for Backstage Christchurch - Theatre Reviews, and has this to say: “A Man for All Seasons is a play that examines the tensions between that which is legally correct, that which is morally good, and that which is convenient, both for those in power and for self-preservation… Lighthouse Theatricals has put together a production that is a visual and musical treat, with a lot of style, creativity, and performative talent.”
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FULL REVIEW:
A Man for All Seasons, by Robert Bolt
Lighthouse Theatricals
Great Hall, Arts Centre, 19 May 2023
Reviewed by Jordon Jones for Backstage Christchurch - Theatre Reviews
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Reviewing two shows within the same week is not a usual occurrence for an established homebody like me, but when the opportunity came up to see such a well-regarded play as A Man for All Seasons—and with such a highly-skilled cast and production team—I knew I needed to make an exception. For those not familiar with the story, it follows the rise and dramatic fall of Sir Thomas More, who served as Lord High Chancellor of Great Britain under Henry VIII during the time that the king sought to divorce his first wife, Catherine of Aragon. This was a time when waves of Protestant reformation were sweeping the country, as Henry made his break with Rome to head up the new Church of England, and More’s unwavering loyalty to the Catholic faith and refusal to compromise his beliefs made him not just a man of great integrity, but a threat to the new order. Spoiler alert for 500-year-old history: the Tudors were not kind to those who stood in their way, and More was cut down for his stubborn morals, to later be venerated as a saint and English martyr.
The Great Hall has a wonderfully evocative atmosphere, and it is little wonder that Lighthouse Theatrical was so keen to use it for A Man for All Seasons. Upon walking into the venue, I was immediately captivated by the creative use of the space for staging: rather than filling the floor of the hall with seating and performing on the stage, Lighthouse Theatricals has flipped things around, taking full advantage of the larger floor area and breathtaking stained glass window filling the back wall (yes, the window clearly depicts a twentieth-century design, but the awe-striking vibes of the thing cannot be overstated). Some of the audience is placed on the raised stage, giving them a bird’s-eye view of the proceedings, and some in pews on ground level in a U shape around the area that has been set aside for performing. I have always held a particular fondness for performances in the round, and as one of the lucky punters in a front-row pew, I felt fully immersed in the action. Working with such a pronounced thrust stage (it’s shaped like a T) does inevitably lead to moments looking straight at an actor’s back, but the cast are clearly no strangers to this problem, and deftly worked around it to minimise any one side or section being obscured for too long.
Another theatrical technique I tend to get quite excited about is minimalistic, multi-purpose sets; as much as I enjoyed the detail in the set design for the other shows I reviewed recently, the efficiency and easy manoeuvrability of a few key pieces of furniture against a more general background is refreshing, and when the plot frequently moves between different locations it allows the action to continue more or less unbroken, keeping the audience consistently invested. With just a few key props, a table, a few chairs, and a couple of stools, we are given all the suggestion of the scene that we need to fill in the blanks, and we are then free to focus our attention on the actors themselves. This is made especially easy by the sumptuous costumes, which my brain immediately latched onto in a most magpie-like fashion. Not only are they gorgeous (and amazingly sleeved), but they looked (to my admittedly non-professional eyes) very closely drawn from history. I noticed several which I recognised as being very reminiscent of famous portraits, particularly Henry’s gold costume. Even with such a sparse set, the attentive details in the costuming make the time period really come alive, fortifying the immersive nature of the production. One especially exciting addition to this production of A Man for All Seasons is the live music; as well as the trio of organ, guitar, and one very stealthy trumpeter, there are several choral pieces, most of which have been adapted by musical director Robert Loretz from traditional songs. These songs fill the space nicely, providing a commentary on the action while complementing the Tudor aesthetics.
As I alluded to earlier, my expectations were raised quite high by the cast list, and the performers did not disappoint. We were led into the world of 1530s England by Barry de Lore as the eminently relatable Common Man, a composite role which sees him juggling many (literal) hats as More’s steward, a boatman, an innkeeper, a jailer, and more. He also plays a crucial part in stepping in and out of the story to connect with the audience, aligning himself with us so that we might align ourselves with him, the Tudor everyman on the sidelines of the political intrigues.
The central role of Thomas More, saint, scholar, and martyr, is played by Hugh Sexton, who oozes gravitas simply by existing. He’s the perfect man to embody an inflexible statesman of integrity, but nimbly lightens the role with driliy-delivered irony throughout. Sexton’s rich voice and magnetic stage presence give More’s character a sympathetic warmth, and it is difficult to take your eyes off of him.
Serving as More’s primary antagonist is Thomas Cromwell, the king’s ruthlessly dedicated fixer. Will Alexander excels in the role, matching the careful, thorough mind of Sexton’s More with an added undercurrent of cunning and viciousness. Alexander leans into the subtle menace of the character with relish, adopting a predatory air. At his side is Harry Lawrence as Richard Rich, a man on the make with big aspirations. Lawrence plays Rich with a naked, youthful hunger at the start of the piece, but as he becomes more indebted to Cromwell and starts trading off pieces of his conscience to satisfy his ambitions Lawrence makes the character increasingly cold and distant, sacrificing his humanity one honour at a time.
More is not without his supporters, however: his family is represented by his wife Alice and daughter Margaret, portrayed ably by Nikki Bleyendaal and Alexandra Light respectively, to which Adrian Hooke is added as More’s son-in-law William Roper. He also has Matt Hudson as the Duke of Norfolk in his corner, providing political clout for as long as the king allows. Hudson adeptly navigates Norfolk’s tensions between loyalty to his friend and loyalty to his king, but it’s More’s family that holds the heart of the show. In the midst of all the sly threats and political machinations, the scene with the most emotional impact is the one where More has to bid his family farewell for the last time, and they beg for one more minute—just one—to hold each other. The raw emotions of such a scene come off powerfully, and that is down to the skills of Bleyendaal and Light especially.
Filling out the cast are Warwick Shillito as the Spanish ambassador Chapuys, David Allen (alias Atkins in the programme) as Cranmer, the Archbishop of Canterbury, Robert Loretz as More’s predecessor Cardinal Wolsey, Catherine Hay in a primarily singing role and small cameo as “Woman”, and director Johnny Light stepping in for a turn as Henry VIII himself. These characters don’t have as much stage time to develop, but all are fully realised and played with depth: Henry the self-assured, passionate authority who will not be gainsaid, Chapuys the playful, riddling information hub, Cranmer the wary neutral caught between Norfolk’s sympathy and Cromwell’s aggressiveness in More’s official inquiry.
A Man for All Seasons is a play that examines the tensions between that which is legally correct, that which is morally good, and that which is convenient, both for those in power and for self-preservation. It is also a play about love, and loyalty, and betrayal. Lighthouse Theatricals has put together a production that is a visual and musical treat, with a lot of style, creativity, and performative talent. The season will run from Tuesday to Saturday next week, so there’s still some time for you to escape the winter chill and enjoy this excellent show.
