by Hilary Mantel and Ben Miles
seen at the Gielgud Theatre on 17 November 2021
This Royal Shakespeae Comany production, directed by Jeremy Herrin, is an adaptation of Hilary Mantel's novel of the same name, the third in her account of the life and career of Thomas Cromwell. The first two novels had been adapted by Mike Poulton for the RSC in 2014 (before I began my blog). Ben Miles as Cromwell and Nathaniel Parker as Henry VIII reprise their roles from the earlier plays, and are both excellent.
The novel is long (by far the longest of the three) and complex, as the final two years of Cromwell's life were full of intrigue and interest. Mantel also imagined his interior life, with many episodes of recollection from his boyhood and youth elaborating on scenes glimpsed in the early parts of Wolf Hall (the first book). Most of the introspection has perforce been stripped out, though glanced at in the play by the occasional appearance of Cromwell's father Walter and his principal mentor Cardinal Wolsey as ghostly figures, an idea that seems at times rather too camp to be effective.
The political struggles are wisely and competently simplified to concentrate on the demise of Henry's third queen Jane Seymour and the negotiations for the fourth marriage to Anna of Cleves. Famously this foundered on the king's displeasure at actually meeting his bride, but Mantel mischievously proposes that she also was less than enamoured at the unheralded arrival of a rather overbearing and by this time physically less than attracitve man. All this was well played in a versatile setting designed by Christopher Oram (inherited directly from the previous adaptations).
I have read the novel recently, and felt that this added some richness to the experience of watching the play, since some fleeting references resonated with my memories of the more extended treatment in the book. The play (and the book) suffer from a lack of tension since the outcome is hardly unknown; this inevitalby reduces the suspense. Of course, one could say the same thing about Shakespeare's history plays, though the plays in the more mature tetralogy (Richard II, the two parts of Henry IV and Henry V) are arguably more memorable for the investigation of character than for mere historical information. I am not sure that these Cromwell plays will prove of such long-lasting interest. There was, for example, no attempt to revive the first two plays to coincide with the arrival of this last part, though maybe such an ambitious project would have been considered were it not for the deleterious effects of the pandemic on theatrical life.
