Wolf Hall: Parts 1 & 2 2015
Run Time:
Two hours and 45 minutes, one intermissio
Two hours and 45 minutes, one intermissio
Ages: 4+
Opened: April 9, 2015Closing: July 05, 2015
Wolf Hall: Parts 1 & 2 - 2015 - Broadway History , Info & More
Winter Garden Theatre
Drury Lane London
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.
Wolf Hall: Parts 1 & 2 - 2015 - Broadway Cast
PREVIEW Wolf Hall: Parts 1 & 2 - 2015 - Broadway
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FEATURED REVIEWS FOR Wolf Hall: Parts 1 & 2
Wolf Hall review - action comes thick and fast in this thrilling marathon
10 / 10
Even if you've practically memorised the books, Wolf Hall still feels incomplete. Because it is. The third part of Mantel's trilogy, which details Cromwell's downfall, hasn't yet been published. Wolf Hall is a tragedy, but right now it concludes like a comedy (well, a comedy with a lot of beheading), which the second part acknowledges. 'There are no endings,' Cromwell says. 'They are all beginnings. This is one.' And gripping enough that I suspect nearly all of us will be back in these seats in a few years time, eager to see - 500-year-old spoiler alert - the bloody conclusion.
'Wolf Hall' lacks speed, bite on stage
6 / 10
The subject matter is hardly dull or arcane...At issue, often, is how intrinsically dramatic a character this Cromwell is. Ben Miles provides a suitably thoughtful, nuanced central performance as a man who can be a ruthless enforcer but is not without his own principles...But Cromwell is not, in these plays, allowed any moment of real revelation or release. The flickers of anger, regret and exhaustion that poke through his pragmatic efficiency are not enough to make him a compelling central figure. Other characters allow for more heightened emotional expression. As Katherine of Aragon, Henry's first queen, the excellent Lucy Briers is at once fierce and palpably wounded -- a worthy rival to Lydia Leonard's haughty, saucy Anne, and to the charismatic Henry of Nathaniel Parker, who deftly avoids caricature. The supple performances provided by these and other cast members cannot, however, compensate for plays that impress but don't transport us.
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