ACT Reviews 2022-2023 Season

1966, and a television movie in 1988. The set, largely on black drapes and with little furniture, co-ordinated by Tracey Whitney, created the scenes which gave a hint of the impending doom for More. The lighting and sound by John Peak and Allan Jordan was just right so as not to detract from the content of the play. The colour came not only from the performances but from the attractive wardrobe designed and made by Stephanie Narey, Kath Portlock, Alison Stone, Ann McPartland and Georgina Gaddum. The costumes had style and detail that one would expect from a period drama and were a delight to the eye. Also, creating a mediæval atmosphere were the two Minstrels, or “Waites”, Ian Coppack and Alec Macdonald, who came on during the brief scene changes to play short musical excerpts. The attention of the audience was held throughout, not just because we did have to concentrate on the chronology of the timeline but also by the strong acting and characterisation of many on the stage. Nigel Wells, as The Common Man, ably navigated the audience through the scenes and changed character quite often – a butler/boatman/ innkeeper and finally, the foreman of the jury at the trial. He linked the scenes with humour and was engaging. Craig Harris gave a super performance as the central character, Thomas More. The dialogue was given with confidence and expression: we knew his feelings of hope, weariness, virtue, protectiveness, all of which endeared him to the audience and created the sense of sympathy. Richard Comish played the politically motivated prosecutor, Thomas Cromwell superbly. He had created a superb manipulative, growly character. His expressions added meaning and menace to his character. If this had been panto he would be the baddy, indeed he did get booed in the finale. An excellent performance that had me captivated. Though not with a massive amount of stage time, Laurence Roach oozed ambition as he followed Cromwell’s lead and became a viper,

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