Review: THE OTHER BOLEYN GIRL by Wellington Repertory

The Other Boleyn Girl is originally a 2001 historical novel by Philippa Gregory, not a traditional play. It was later adapted into films (notably in 2008) and stage versions by various theatre companies. The story is based on real events in the court of King Henry VIII of England during the early 16th century, focusing on the Boleyn sisters, Mary and Anne.

The story follows Mary Boleyn, who is sent by her ambitious family to become the mistress of King Henry VIII. She initially wins the king’s affection and bears his child, but her older sister Anne gradually enters the court and strategically captures Henry’s attention. Anne refuses to be his mistress and instead pushes him toward marriage, contributing to Henry’s break from the Catholic Church. The rivalry between the sisters intensifies, ultimately leading to Anne becoming queen.

As you enter the theatre, the scent of incense immediately sets the tone, transporting you from the outside world into another time and place. It’s a thoughtful touch that enhances the atmosphere, much like music can guide an audience into the director’s vision.

The set design (Ewen Coleman and Vince Jennings) is relatively simple yet highly effective. A series of arches serve as entrances and exits, each framed with strip lighting that illuminates to signal different locations. This clever device works well and adds a subtle layer of storytelling to the production.

With a large cast, director Ewen Coleman deserves recognition for his community-focused approach to casting. While many performers do not have speaking roles, their inclusion provides valuable stage experience and the opportunity to work alongside more seasoned actors.

The Boleyn sisters (Ava Wiszniewska as Mary and Yasmine Alani as Anne) are at the heart of the production. Both deliver emotional performances, convincingly navigating the complex relationship between the two women. Their confrontation after Anne becomes Queen is the standout moment of the evening: gripping, intense, and the point at which I felt most invested during the two-and-a-half-hour running time.

Joseph Corbett, as the Boleyn brother, also plays an integral role and acquits himself well within the ensemble.

Helen Mackenzie’s portrayal of Queen Katherine is dignified and understated, effectively conveying the resilience of a woman enduring her husband’s many affairs (Henry VIII, played by Lennex Drummond). My only criticism is that her projection could be stronger; even from the front row, some dialogue was difficult to catch, which may be more pronounced for those seated further back.

Kevin Hastings (Thomas Howard), Catherine McMechan (Lady Elizabeth), and Mark Wilton (Thomas Boleyn) form an interesting trio. While Howard and Elizabeth are deliciously menacing, Wilton’s portrayal of Thomas Boleyn as somewhat simplistic provides a contrast that creates both humour and moments of tension throughout the performance.

Costuming (Anne De Geus, assisted by Jay Whipps and Carol Walter) is a standout feature of the production. The Boleyn sisters, in particular, have numerous costume changes, all well realised and period-appropriate. Some of the gowns are truly striking, and the entire cast is consistently well presented, a significant achievement for the costume team.

Lighting design by Devon Heaphy is unobtrusive and effective, while the sound design (Alan Burden, operated by Shelby Allan) is used sparingly. At times, the music underscoring entrances and exits slightly overpowers the opening lines of dialogue and could be faded earlier, but overall it supports the action appropriately.

There are a few scenes that feel unnecessary and could potentially be trimmed to create a tighter, more audience-friendly production. That said, the final scene of Act One is particularly chilling and highly effective.

This is a long, text-heavy play with numerous scene changes, most of which are handled smoothly. The cast delivers a competent and committed performance, clearly relishing their time on stage. During the bows, it’s evident just how proud they are of both the production and one another.

2026 Theater Fans' Choice Awards - Live Stats

Best Lead Performer in a Musical - Top 3

1. LJ Benet - The Lost Boys, A New Musical

15.8% of votes

2. Joshua Henry - Ragtime

15.4% of votes

3. Nicholas Christopher - Chess

8.9% of votes

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