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Wolf Hall/Bring up the Bodies – review Wolf Hall/Bring up the Bodies – review
(about 1 hour later)
Turning a novel into a play is always tricky: even more so in the case of Hilary Mantel's two prize-winning books which view the dark intricacies of the Tudor court through Thomas Cromwell's fierce, prismatic intelligence. But, even if Mantel's poetic eye for detail gets somewhat lost, Mike Poulton has done an outstanding job in turning the books into two epic three-hour plays that, in Jeremy Herrin's RSC production, make for a gripping piece of narrative theatre.Turning a novel into a play is always tricky: even more so in the case of Hilary Mantel's two prize-winning books which view the dark intricacies of the Tudor court through Thomas Cromwell's fierce, prismatic intelligence. But, even if Mantel's poetic eye for detail gets somewhat lost, Mike Poulton has done an outstanding job in turning the books into two epic three-hour plays that, in Jeremy Herrin's RSC production, make for a gripping piece of narrative theatre.
Wolf Hall is ostensibly the more difficult of the two to dramatise in that it covers a larger time span: roughly the eight years from 1527 to 1535 that see the rise of Cromwell – a Putney blacksmith's son – to high office, as well as the downfall of his patron Cardinal Wolsey through his failure to secure an annulment of Henry VIII's first marriage. But these eight tumultuous years also witness the accession of Anne Boleyn to the throne, her failure to produce a male heir and the execution of Thomas More for his refusal to take the oath legitimising Anne's position.Wolf Hall is ostensibly the more difficult of the two to dramatise in that it covers a larger time span: roughly the eight years from 1527 to 1535 that see the rise of Cromwell – a Putney blacksmith's son – to high office, as well as the downfall of his patron Cardinal Wolsey through his failure to secure an annulment of Henry VIII's first marriage. But these eight tumultuous years also witness the accession of Anne Boleyn to the throne, her failure to produce a male heir and the execution of Thomas More for his refusal to take the oath legitimising Anne's position.
Poulton has an awful lot of story to get through but he succeeds in focusing on the key characters. In Mantel's book, we see much of the action through Cromwell's eyes. Here he is more objectively viewed but still totally compelling: a born financial fixer, a razor-sharp lawyer, a cunning court diplomat who even manages to put a positive spin on the king's guilt-haunted dream about his dead brother. Ben Miles may not have the ugliness of which Cromwell is accused but he brilliantly conveys the watchful intelligence, the inner grief, the implacable isolation.Poulton has an awful lot of story to get through but he succeeds in focusing on the key characters. In Mantel's book, we see much of the action through Cromwell's eyes. Here he is more objectively viewed but still totally compelling: a born financial fixer, a razor-sharp lawyer, a cunning court diplomat who even manages to put a positive spin on the king's guilt-haunted dream about his dead brother. Ben Miles may not have the ugliness of which Cromwell is accused but he brilliantly conveys the watchful intelligence, the inner grief, the implacable isolation.
But all the main characters have a three-dimensional richness that stems from Mantel's novel and that puts to shame a piece of costume-drama like TV's The Tudors.But all the main characters have a three-dimensional richness that stems from Mantel's novel and that puts to shame a piece of costume-drama like TV's The Tudors.
Paul Jesson's Wolsey is wise, worldly, loyal to his followers yet possessed of a vanity that enables him to say "The king cannot run the country without me." Nathaniel Parker's Henry VIII is also no mere bloat king but a man who combines a troubled conscience with an awesome sense of power: in one terrifying moment he turns on his trusted Cromwell with a warning of what will ensue if he fails to make More capitulate. And, even if Lydia Leonard's Anne Boleyn is a sharp-toothed vixen, her volatility is born of desperation.Paul Jesson's Wolsey is wise, worldly, loyal to his followers yet possessed of a vanity that enables him to say "The king cannot run the country without me." Nathaniel Parker's Henry VIII is also no mere bloat king but a man who combines a troubled conscience with an awesome sense of power: in one terrifying moment he turns on his trusted Cromwell with a warning of what will ensue if he fails to make More capitulate. And, even if Lydia Leonard's Anne Boleyn is a sharp-toothed vixen, her volatility is born of desperation.
No adaptation can quite capture Mantel's gift for atmosphere that shows itself in such phrases as "There is a tentative, icy sun; loops of vapour coil across the river; a scribble of mist." But Herrin's production propels the action forward with superb economy: packing cases turn into a river boat, a stately galliard resembles a dance of death, an enfeebled archbishop staggers under the weight of a Bible. As in Mantel's book, you feel this is history made manifest.No adaptation can quite capture Mantel's gift for atmosphere that shows itself in such phrases as "There is a tentative, icy sun; loops of vapour coil across the river; a scribble of mist." But Herrin's production propels the action forward with superb economy: packing cases turn into a river boat, a stately galliard resembles a dance of death, an enfeebled archbishop staggers under the weight of a Bible. As in Mantel's book, you feel this is history made manifest.
You'd expect the second book, Bring Up The Bodies, to be the easier to render theatrically. It is, after all, set in a single year, 1535, and focuses on Anne Boleyn's downfall and execution. But, strangely, in the first half the tension sags: too many ghostly revenants, too much chat about the diplomatic consequences of Henry's marital disenchantment. The later scenes, however, are breathtaking as we see how Cromwell steadily builds a case against Anne through the vainglorious testimony of her adoring musician, Mark Smeaton. As Smeaton names Anne's other putative lovers, we get a glimpse of how tyranny has worked down the ages through false confessions, deliberate distortions and self-incrimination.You'd expect the second book, Bring Up The Bodies, to be the easier to render theatrically. It is, after all, set in a single year, 1535, and focuses on Anne Boleyn's downfall and execution. But, strangely, in the first half the tension sags: too many ghostly revenants, too much chat about the diplomatic consequences of Henry's marital disenchantment. The later scenes, however, are breathtaking as we see how Cromwell steadily builds a case against Anne through the vainglorious testimony of her adoring musician, Mark Smeaton. As Smeaton names Anne's other putative lovers, we get a glimpse of how tyranny has worked down the ages through false confessions, deliberate distortions and self-incrimination.
But this second play also adds to the complexity of both Mantel's and Poulton's characterisation. In Wolf Hall, it is possible to admire Cromwell as the epitome of the self-made man in a world rancid with entitlement and as a visionary who desires a secure England.But this second play also adds to the complexity of both Mantel's and Poulton's characterisation. In Wolf Hall, it is possible to admire Cromwell as the epitome of the self-made man in a world rancid with entitlement and as a visionary who desires a secure England.
In Bring Up The Bodies, he becomes more devious: a man driven both by the desire to avenge Wolsey and by the self-perpetuating excitement of power. There's a gripping moment when Leonard's despairing Anne Boleyn tells him: "You can't make my thoughts a crime" to which Cromwell levelly replies "I can."In Bring Up The Bodies, he becomes more devious: a man driven both by the desire to avenge Wolsey and by the self-perpetuating excitement of power. There's a gripping moment when Leonard's despairing Anne Boleyn tells him: "You can't make my thoughts a crime" to which Cromwell levelly replies "I can."
Watching the two plays together over a span of six hours is an occasionally exhausting but mostly exhilarating experience. There is a vast amount of skill involved. Apart from the actors mentioned, Lucy Briers as a stern, implacable Katherine of Aragon, Leah Brotherhead as a growingly assured Jane Seymour and John Ramm as first Thomas More and later Henry's stool-attendant are all very good.Watching the two plays together over a span of six hours is an occasionally exhausting but mostly exhilarating experience. There is a vast amount of skill involved. Apart from the actors mentioned, Lucy Briers as a stern, implacable Katherine of Aragon, Leah Brotherhead as a growingly assured Jane Seymour and John Ramm as first Thomas More and later Henry's stool-attendant are all very good.
Christopher Oram's design, Stephen Warbeck's music and Paule Constable lighting concept, in which the world seems to brighten every time the king appears, are also beyond praise.Christopher Oram's design, Stephen Warbeck's music and Paule Constable lighting concept, in which the world seems to brighten every time the king appears, are also beyond praise.
But the success lies in the fact that we feel this is both a piece of living history and a guide to the early modern world. These plays are about class, passion, conscience, religious freedom and the danger of living in a society where power goes unchecked. And, while they can't precisely reproduce the dream-like richness of Mantel's prose, they show that novels can sometimes be made into very good plays.But the success lies in the fact that we feel this is both a piece of living history and a guide to the early modern world. These plays are about class, passion, conscience, religious freedom and the danger of living in a society where power goes unchecked. And, while they can't precisely reproduce the dream-like richness of Mantel's prose, they show that novels can sometimes be made into very good plays.
Until 29 March. Box Office: 0844 800 1110Until 29 March. Box Office: 0844 800 1110
• A production error meant that an earlier version of this review carried the wrong star rating. Our apologies.
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