Wolf Hall: Parts 1 & 2 are adapted by Mike Poulton from Hilary Mantel's double Man Booker Prize winning novels, Wolf Hall and Bring Up the Bodies (published Henry Holt in the U.S.). The plays are based on the deceit, betrayal, and intrigue of the court of Henry VIII. The production features a company of more than twenty actors, headed by Ben Miles as Thomas Cromwell, Lydia Leonard as Anne Boleyn, and Nathaniel Parker as King Henry VIII, all under the direction of Olivier Award nominee Jeremy Herrin, who makes his New York City directing debut. The Royal Shakespeare Company is appearing with the permission of Actors' Equity Association.
For starters, watching these two plays...is nothing like reading the novels. In the latter, Mantel creates a magnificent panorama of Henry's England, but she doesn't always bother to introduce her characters or let you know who's speaking some of the time. The plays, on the other hand, are '16th Century England for Dummies,' even for Americans who think Thomas and Oliver Cromwell are one and the same. While Poulton is brilliant at disguising tons of exposition as genuine dialogue, 'Wolf Hall' takes a good 90 minutes and one intermission to settle into what might be called a good drama. The swirl of characters and incidents is so intense that watching 'Wolf Hall' turns theatergoing into grandiose scorekeeping...That shift of power from the Henry to Cromwell is when 'Wolf Hall' genuinely begins to fascinate...Miles...maintains an implacable façade regardless of what he's thinking, and that Miles rivets our attention for six hours makes his performance a masterclass in minimalist acting.
Already a hit in London, where it transferred to the West End after bowing to much acclaim at the RSC's home base in Stratford, the production is a mighty undertaking. It's directed by Jeremy Herrin with propulsive energy; designed with commanding stagecraft by Christopher Oram and a superb team on lighting, music and sound; and performed with authority and an abundance of sly humor by a first-rate troupe of 23. If the play's two parts ultimately prove uneven -- with the vigorous, bold-strokes storytelling of Part One giving way to uneven pacing and a nagging shortage of social and political context in Part Two -- that could have something to do with the giant spoiler that even the most distracted history student knows: Anne Boleyn loses her head. As admirable as the production is, it can't compare with the exhilarating vibrancy and theatrical originality of last season's British double-bill, Twelfth Night and Richard III. But while it might fall short of the pantheon of all-time great stage events, Wolf Hall is nonetheless an impressive feat, a compelling drama played out across the canvas of a nation soaked in rain and mud and blood.
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