Anne Boleyn The Musical at Hever Castle Review
Anne Boleyn The Musical. Photo by Daniel Watson
Written by Jenna for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
I cannot think of a more perfect location for the world premiere of this brand new musical. The vast stage, with a backdrop of Hever Castle itself, is breathtaking, and you cannot help but be swept away by the atmosphere of this historic place even before the show begins. The audience are provided with regal-red blankets, making the open-air experience cosy and comfortable. As Anne herself (played by the sensational Emily Lane) makes her way from the actual castle (Yes!) to the stage, her queen-like presence has you drawn in, and her acting and singing abilities make her the perfect choice for this iconic role. The realisation that she is stepping on the grounds of Anne Boleyn’s childhood home to perform the story of her life gave me goosebumps, as did other ‘wow’ moments later in the show, such as an enamoured Henry VIII (Mark Goldthorp) arriving at Hever on actual horseback. I have never seen a sight quite like it in the theatre and it is one that I will always remember.
The staging is simple yet highly effective, with two movable platforms creating the royal palaces as well as the French court where Anne received her education, and of course, the interior of Hever Castle itself. The classic Holbein painting of King Henry and an instantly recognisable portrait of Anne are later revealed on canvases, taking me back to GCSE history and reminding me of how extraordinary this real-life tragedy/love story is. The period costumes by Robert Innes-Hopkins (who also designed the set) were effective, but I felt they could have been more dazzling, particularly for the principle characters. Lighting design by Michel Jacobs is particularly impressive given that the show begins in bright daylight and ends in darkness, echoing the experience of Anne’s early life and subsequent downfall following her marriage to the king.
What was very special to see is the ensemble, made up of local performers from the Kent area, fully immersing themselves into their roles, and they were just as impressive as their professionally trained co-stars. The young actors playing Anne as a child and princess Elizabeth were wonderful, and what an opportunity for local talent of all ages to be involved in a production full of their heritage and at a location which is no doubt close to their hearts. Director Roxana Silbert has done an incredible job of bringing this diverse company together seamlessly, and telling the story (written by Rebecca Night) through song, dance and drama. Alistair David (Sister Act, The Addams Family)’s choreographic style was reflective of the period of the production and is performed faultlessly by the professional and community cast members.
The songs, composed by Sam Gevers with lyrics by Rebecca Night and Sam Kenyon, are powerful and set the tone well for each scene. I was particularly moved by the stunning ballad ‘You’ as Anne sings to her new baby daughter whom she knows will be a huge disappointment to the King who longed for a son. The beautiful duet ‘To catch the light’ sung by Anne and her lifelong support Joan was another highlight of Act II. There are also some incredible harmonies performed by the King and his court advisors as they plot Anne’s downfall. The audience wear specially adapted headphones to allow them to hear the show in the vast open-air auditorium. This state of the art binaural technology, designed by the Ringham Brothers, is the first of its kind in the UK for an outdoor production. It works well, however you do lack the richness of sound that you get from a West-end stage and a live orchestra.
It must be said that while the first act is light-hearted and engaging, the second act is much darker, and the increasing intensity of the songs and performances completely blew me away. The distinct change from the madly-in-love Henry before his marriage to Anne and the ruthless King is played perfectly by Goldthorp, and you can feel the rising panic in both him and Anne as she fails to provide the heir that he and the country so desperately want. The tension builds to the story’s epic and well-known conclusion, which had me in tears, with stunned silence (mixed with the occasional sob) from the audience. The closing number reminded me of Hamilton’s ‘who lives, who dies, who tells your story’, as the audience is reminded of Anne’s legacy in her instilment of the first poor laws, and in her Daughter Elizabeth I, the queen who (perhaps unsurprisingly) chose not to marry, but reigned for 45 years as one of the greatest Monarchs of all time. The irony of this, given the disappointment at her birth, gives a strong message of female empowerment despite the oppression experienced by women in Tudor England.
I did not expect to be quite so moved and impressed by this production but I am choked up even as I write this by just how remarkable it was. I will definitely be returning with my daughters for a history lesson with a difference, set in the most beautiful grounds with a story about a strong woman fighting to be heard in a man’s world.
Anne Boleyn The Musical plays at Hever Castle until 30 August
★ ★ ★ ★ ★
