Society's superb production really brings history to life
Pateley Bridge Dramatic Society has been inspired to present this historical drama written by Robert Bolt.
A Man For All Seasons is set in the reign of King Henry VIII, which lasted from 1509-1547. Its central theme revolved around the dilemma faced by Henry's Chancellor, Sir Thomas More, who wished to serve his king and country whilst remaining true to his principles and to God.
Fiona Hewison and her team are to be congratulated in setting a minimalistic stage, giving the actors a serious presence from the start and allowing ten different locations in 16 scenes to be portrayed with hardly a blink between them.
The lengthy span of time covered by the play is smoothed over by the Common Man acting as Narrator, who acts as a bridge between audience and story, Illusion and reality. He is very much the ordinary man-in-the-street, with his earthy and selfish humour and his sense of self-preservation. This part was excellently played by Steve Rouse, who told us what was happening clearly and humourously, whilst adroitly moving furniture and props in preparation for the next scene.
Honours must go to Peter Meese for his sterling performance as Thomas More. It is a physically as well as emotionally demanding role, as More is on stage for a good proportion of the the play. Its two acts clearly divide the fortunes of More into the rising and falling phases necessary for balance in a tragedy. Peter Meese was able to understand and show us the inner soul of More, his intellect, his integrity, and his many humanising touches.
The domestic scenes illustrate More's love an genteleness towards his daughter Margaret and wife Alice. He respects Meg's intelligence, and she is his friend as well as his daughter. She is the only one who understands him enough to help him remove his chain of office when he resigns as chancellor, and the moment when they part at the foot of the scaffold is deeply moving.
Heather Appleton played Margaret, and gave a very pleasing performance. She ranged from quiet scholarly attitudes to obedient daughter and through to coy young girl flirting with her fiance William Roper, who was fittingly portrayed by Michael Thorne.
Christine Ward played Alice, and was totally credible and likable as the formidable, bustling housewife whose massive common sense shakes More. Her plain, simple outlook on life has none of the subtelty of the court.
As the coarse, toadying Cardinal Wolsey, Iain Johnson gave a short, but telling impersonation in his scarlet papal robes - looking every inch the part of the greedy cleric.
Archbishop Thomas Cranmer played by Charles Young was serious and impressive in the short trial scene.
Peter Buller was in his element in a masterly interpretation of Thomas Cromwell, Earl of Essex. Responsible, under Wolsey, for turning the King's friendship against More - his icy projection of manufactured charges resulting in More's imprisonment in the Tower of London, alienated our feelings.
Richard Rich, a servant, was Cromwell's main victim, and was well performed by Steve Ellis. The character is sly, amitious and greedy, the catalyst in More's downfall, and not at all likeable. He represents the darker, weaker side of Human nature.
Nevin Ward gave splendid support as the blunt-speaking English countryman, the Duke of Norfolk.
The Spaniards kept a watchful presence in the shape of Signor Chapuys, played by Barry Gwilt with oily insinuation, bribing all and sundry to further Spain's cause; his young attendant was played by Sam Jefferson.
A smaller part, but vital character to the plays, was Woman, who had apparently tried to bribe Sir Thomas More by giving an Italian engraved cup. She was pertly and confidently played by Ruth Dodsworth.
Mention must be made and thanks given to all backstage support - wardrobe mistress Sandy Meese and her team dressed every character elegeantly and depicted the period very well; sound and lighting (Sue Hickson, Derek Howard and Peter Meese) was superb, never intruding upon the action, but working to complement the illusion; the music excellently set the period.
The finale was absolutely magnificent - The Execution on Tower Hill - a heartrending flash of the huge executioner's axe and then darkness and silence. The whole audience let out a breath and a sigh of relief as the tensions and emotions of the evening were quietly allowed to subside and the real world slipped comfortably back into place.
Peter Wilson
[This review appeared in the Pateley Bridge and Nidderdale Herald]