Movies

Is Martin Shaw Too Old to Play Thomas More in A Man For All Seasons?

BBG News

A Man For All Seasons (Theatre Royal Bath and touring)

Verdict: Shaw fire antique 

On Tuesday, Martin Shaw celebrated his 80th birthday, marking a significant journey from his days as the suave, bubble-haired heartthrob Ray Doyle on the British television series The Professionals, which was modeled after Starsky & Hutch and popular in the 1970s.

As the captivating figures of Judge John Deed and Inspector George Gently on television, I’ve learned to maintain a steadier demeanor. However, when it comes to the stage, I’ve consistently left audiences in awe. I’m thrilled to be embarking once more on the timeless tale of A Man For All Seasons, penned by Robert Bolt – this is my second venture into this enduring war-horse, following my initial performance in 2006.

The narrative unfolds the account of Thomas More’s resistance towards King Henry VIII, particularly his decision to challenge the Pope, proclaim himself the leader of the Church within England, discard Catherine of Aragon, and attempt to father a male heir with Anne Boleyn instead.

This work can be described as a blend of political intrigue and moral dilemma, portraying the character More in a more positive light compared to how Hilary Mantel depicted him in Wolf Hall.

Like suffering Christ under the judgement of Cromwell’s Pontius Pilate, More is on a holy mission.

A significant concern arises regarding Shaw’s age, given that he was executed at 57 years old.

I’d be delighted if I could still maintain myself with even a fraction of his grace at 80, yet it appears that Shaw’s diminished vigor gives an impression of acceptance for his seemingly unfortunate destiny from the outset.

I follow him closely, noticing the subtle yet distinct differences in his facial expressions. His face appears less dynamic, with his eyebrows rising incrementally, much like the slats of Venetian blinds, only to pause midway during their descent. At times, his voice seems to be stuck between gears, idling menacingly in third, never quite reaching the high gear of a full-throttled fourth.

On a positive note, he hasn’t lost any of his serious demeanor, and at the end, he appears truly shattered by his hardships, having reached a dead-end and no longer capable of resisting the political reality of the Tudor Court.

Crucially, he mobilises a melancholy intelligence that brings clarity and pathos to the role.

Bolt’s work continues to captivate, transforming intricate concepts into compelling theatrical moments with sharp, humorous insights. ‘Amongst the legal jungle, I am a woodland guardian!’ He exclaims, convinced of his invulnerability.

Bolt’s performance remains spellbinding, taking abstract theories and converting them into vivid stage actions with clever, witty one-liners. ‘In the midst of legalese, I am a forest ranger!’ He proclaims, feeling indisputable.

The characters haven’t aged either. Edward Bennett appears particularly cruel as he delves into Cromwell’s cunning schemes, but Shaw’s choice of actors makes him seem even more vile. It would be kinder to pick on someone closer to your own maturity level, one might lament.

It’s surprising that Orlando James portrays a cheerful king, considering his infamous background as a serial-killing misogynist. However, Shaw could have been given more opportunities to convey the affection and warmth towards Abigail Cruttenden and Annie Kingsnorth, who played his wife and daughter exceptionally well.

However, veteran performer Gary Wilmot skillfully propels the narrative with comedic flair. He provides background information during scene transitions, making him similar to a bearded historians like Lucy Worsley.

Jonathan Church’s production offers a fulfilling portrayal of 16th-century English life, featuring moveable oak panels that transform into rooms and courtyards. While it may not offer surprising new perspectives, it stands solidly, much like a robust Tudor dining table.

From January 25 in Bath, followed by performances in Chichester, Malvern, Cheltenham, Oxford, Guildford, Canterbury, and Richmond (in that order).

 

Climate change play is a hot ticket

Kyoto (Soho Place, London)

Verdict: Pouring oil on troubled waters

‘Please make your way to the conference,’ says a voice on the theatre tannoy. 

Within the auditorium, you might find yourself seated alongside individuals adorning lanyards, who are likely attendees or delegates participating in one of the numerous climate conferences depicted in the play.

Right from the get-go, this energetic replay of a decade filled with slow, drawn-out negotiations, which culminated in the 1997 Kyoto Protocol – the first international agreement with legally binding emissions targets – bears an undeniable mark of director Stephen Daldry’s dramatic flair.

Or

The high-octane rewind of a slow decade of talks that ended with the 1997 Kyoto Protocol, the world’s first treaty with legally enforceable emission limits, is clearly the work of the skilled filmmaker Stephen Daldry from the outset.

Daldry could electrify a snail race. Which is what he and his collaborator Justin Martin do here.

I, as a dedicated follower, am highlighting that the heart of this play is skillfully placed on the character of the prominent D.C. lawyer, Don Pearlman, penned by authors Joe Murphy and Joe Robertson.

As a fervent admirer, I find myself stepping into the role of a lively moderator, somewhat akin to both an energetic host and impartial judge, introducing the esteemed delegates, each embodying the economic and geopolitical interests of their respective nations. (Stephen Kunken, with his primed and punchy demeanor, on my left.)

As a lifestyle advisor, I proudly embrace my independent-minded approach and association with the oil industry. In a world full of turmoil over climate change concerns, I find joy in sharing an alternative perspective that promotes thoughtful, measured discussions about our energy future.

To be honest, the details such as numbers, statistics, and goals were too complex for me to grasp, but the energy and acting in it made it impossible to ignore its compelling sense of immediacy.

Humorous statements like “Argentina isn’t getting warmer; it’s just touching Chile!” have a lively feel to them, much like the straightforward humor of John Prescott (Ferdy Roberts), who succinctly expresses his preferences with “Lunch is not negotiable.

As a devoted supporter, I found myself engaged in another discussion concerning the suitable term to express human impact on the global climate. After considering 28 different options, it was Saudi Arabia who presented the winning choice: ‘discernible’. With this decision, we managed to reach an agreement.

The work primarily focuses on the intricate practice of diplomacy rather than directly on climate change, demonstrating how it gradually fosters agreement even in situations where it appears impossible.

As I stood amidst the falling petals of the cherry blossom trees, my heart swelled with pride as Don’s wife spoke words of hope. Despite his relentless struggles, she believed that he had made our world a safer place to live in. However, Trump’s unyielding desire to ‘Drill, baby, drill’ threatens to undo all the progress that has been made.

Until May 3.

 

The Lonely Londoners (Kiln Theatre, London)

Verdict: Moving Windrush tales 

As a devoted admirer, I can’t help but share my insights on “The Lonely Londoners,” a tale that resonates deeply with me, being about the disenchantment experienced by West Indian immigrants in the 1950s. This captivating narrative, skillfully transformed by Roy Williams from Sam Selvon’s pioneering 1956 novel, has left an indelible mark on my heart and mind.

Originally staged at the Jermyn Street Theatre a year ago, this play is penned in Trinidadian dialect and portrays the aspirations of freshly-arrived young men from the Caribbean, who are met with hardships such as hunger, discrimination, and an uninviting climate upon landing in London.

The primary figure, Moses Solomon Israel, compassionately greets fellow newcomers from the train, advising them to adjust their expectations – all while concealing his personal sorrow over a lost love in his homeland.

In my own circumstances, I found myself, much like the determined character Romario Simpson, or young Galahad, turning to acts of self-defense and questionable methods out of frustration and desperation. Similarly, the businessman Gilbert Kyem Jnr, often referred to as Big City, found himself in a similar predicament, resorting to such measures in times of distress.

Without a job, Lewis (Tobi Bakare)—who’s known for capturing pigeons in the park as his food source—slips into alcohol dependency.

In this context, women are not central figures in the action and are subjected to derogatory comments, with the suggestion that white women are as unreliable and unpredictable as the British weather.

Despite all my excitement, Ebenezer Bamgboye’s meticulously orchestrated performance transports me right back to the minimalist elegance of the jazz age. It masterfully portrays how the men’s grandiose conversations are merely a facade for their feelings of guilt, shame, and societal ostracization. As an ardent fan, I can’t help but be captivated by this profound exploration!

Despite all obstacles, the play unexpectedly transforms into an affectionate missive dedicated to the city, as the characters hold onto their frayed aspirations.

Or:

In spite of everything, the play turns out to be a delightful tribute to the city, with the characters holding on dearly to their shattered ideals.

Or:

Through all the challenges, the play becomes an unexpected ode to the city, as the characters persist in their damaged dreams.

 

A Good House (Royal Court, London) 

Verdict: Fake comedy

Amy Jephta’s play “A Good House” tells the story of three South African couples whose friendships crumble when a shantytown emerges near their upscale, gated community residences. This work can be considered a light satire exploring social etiquette and norms in the context of class division.

The primary emphasis lies on the prosperous black banker, Sihle, who hails from humble ‘shantytown’ beginnings, and his sophisticated spouse Bonolo, who perceives herself as a politically progressive figure.

Faced with a rather uncomfortable predicament, they are grappling with the decision of whether to back an petition seeking the eviction of residents from a slum area.

The petition was hastily assembled by Scott Sparrow, a somewhat energetic middle-aged white man, and his real estate agent spouse Olivia Darnley, along with Kai Luke Brummer, the owner of a budding sandwich shop, and his yoga-practicing companion Robyn Rainsford.

Under the timid guidance of Nancy Medina (Artistic Director at Bristol’s Old Vic), it can be described as a superficial, story-lacking treat with overused clichés and contrived indignation.

None of the characters face any hard truths or tough choices.

Among all, it’s only Sifiso Mazibuko who stands out as a relaxed urban professional (yuppie) named Sihle; however, he seems unphased by the presence of the shantytown.

People often find it amusing that his wife, Mimi M. Khayisa, has a meticulous preference for the way wine is poured.

The result is a low-stakes comedy of faux pas that really isn’t very funny.

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2025-01-24 05:43

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