Festival Theatre, Edinburgh 5 stars Thank God for writers like Howard Brenton. Because, as English Touring Theatre’s revival of Brenton’s mighty history play for Shakespeare’s Globe testifies to, there are few artists who could combine political intrigue, religion, tragedy and high comedy to make a twenty-first century epic to die for. The audacious sweep of John Dove’s production helps, from the moment the period-frocked actors wander into the auditorium to engage with an audience perhaps expecting a heritage industry view of Henry VIII’s second and seemingly most heroic, not to say epoch-changing, spouse. From Anne’s double-bluffing opening address, however, things couldn’t be more different, as the action dovetails between timelines framed around James I’s private investigations into Anne’s rise and fall en route to authorising a new bible. As Anne navigates her way through the uneasy coalition between church and state, she not only wraps David Sturzaker’s Henry around her little finger, but becomes a pin-up girl for the spies who send her to her death. With every florid speech undercut by some contemporary-sounding comic punchline, Brenton, Dove and their cast of nineteen actors and three musicians have made something that’s both hugely topical and deadly serious, yet also remains great fun. Where Jo Herbert’s Anne is a thoroughly modern woman, intelligent, independent and a natural rebel, James Garnon’s James is an outrageous figure, cross-dressing like a Scots Eddie Izzard doing The Rocky Horror Show with Tourette’s. Beyond such frolics, Anne’s real tragedy here is that, for all her revolutionary zeal, it was misogyny and the fact that she didn’t sire a male heir that did for her in the end in this major work for difficult times. The Herald, May 10th 2012 ends
Edinburgh Playhouse Five stars A big National Coal Board sign looms large at the opening of Lee Hall and Elton John's decade-old musical stage version of Hall and director Stephen Daldry's hit turn of the century film. In a tale of one little boy's liberation as a dancer against the backdrop of the 1980s miners strike, however, the Durham Miners banner and the 'Save Our Community' sash held aloft matter more. It is this call to arms that forms the heart of Daldry's production, as Billy becomes a potty-mouthed beacon of hope in a situation where picket line, thin blue line and chorus line rub uneasily up against each other. Given such a context, there is bound to be some pretty grown-up stuff going on here, be it the institutionalised homophobia in Billy's village, the class war going on within it, or Billy's grieving for his dead mother that drives his every move. And, as so magnificently choreographed by Peter Darling, what moves they are. Watch...
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