Review: 1536, The Ambassadors Theatre

On 13 May 1536, Anne Boleyn’s household is broken up ahead of her going on trial for treason. On 13 May 2026, Ava Pickett’s play 1536 continues performances in its new West End home. 490 years may feel like a long time, but just how much has actually changed? Set against the backdrop of Anne Boleyn’s catastrophic fall from grace, three women try to navigate through life in an increasingly misogynistic Tudor village.

Anna’s always been a bit of a flirt with her head in the clouds, whilst Jane just wants to be a good wife - and Mariella is a skilful midwife trying to distract away her heartbreak. Other than a persistent rumour about a dog murder, the three of them have just about managed to live their lives how they want; when rumours spread about the queen’s arrest, there’s a subtle shift in the atmosphere which makes their community not feel quite as forgiving as it once was. Jane’s impending marriage triggers something destructive in Anna, who’s been keeping a dangerous secret from her two friends. As their confidence in the queen’s survival starts to dwindle, the trio start to question what this means for them.

1536 played to rave reviews during its original run at the Almeida Theatre a year ago, and it has not lost any of its spark with its move to the West End. In just under two hours, the audience goes through a whirlwind of emotions; from its giddy beginning where the laughs come thick and fast, to the all-too sobering ending that leaves you slack-jawed and on the edge of your seat. It feels just as home here as it did in the Almeida, the intimacy of the space one of the key factors in the show’s success.

Another important element is Ava Pickett’s script, and the world she has constructed for this play. It gives women an authentic voice, as you really do recognise three normal people just talking to each other; it’s something that regularly gets overlooked, and highlights the importance of letting women tell their own stories. The slightly anachronistic speech fits the tone of the production perfectly, and allows it to speak clearly to a modern audience - not only does it engage viewers quickly, but it also ensures they stay locked in throughout.

What makes it so compelling is that Pickett has taken a period of time that probably everyone watching will be familiar with, and worked a completely original story around that timeline - meaning that the majority of the time can be spent on this narrative, and Pickett has complete freedom in her storytelling. It’s also refreshing to hear about three ordinary women rather than the usual focus on monarchs and the nobility, as it makes for something that’s far more relatable.

The historical setting and the modern day speech simply underlines the fact that the themes and anxieties explored in the play continue to be relevant today. It demonstrates the pervasive influence of those in power on the national mindset; Henry VIII’s treatment of Anne Boleyn is used as an exemplar by the men in the village, using a similar approach to try and keep the women in check. You don’t have to look too far to see this in action here in the 21st century.

Visually speaking, the production is impeccable. Max Jones’ design work takes us immediately to the outskirts of a 16th century English village, the earthy and pastel tones of the costumes complementing the rugged surroundings perfectly. Jack Knowles’ lighting design is used to great effect, particularly later on as events take a more dramatic turn; the vivid shades in the sky reflect the intensity of the action and the heightened stakes.

Joining the cast for the West End transfer, Oliver Johnstone makes an impression as Richard - his performance demonstrates just how easily a man can go from charming to dangerous, enabled by the feeling of uncertainty emanating from the capital. George Kemp’s William is altogether more passive, but that doesn’t make him any less of a risk to the women in his orbit.

The final ingredient for 1536’s success lies in its leading trio; Siena Kelly (Anna), Liv Hill (Jane) and Tanya Reynolds (Mariella) have accompanied the production from the Almeida to the Ambassadors, and the bond between the three really does feel like it’s been there for years. Their interactions feel like those of a group of friends, which makes it all the more heartbreaking when the change in circumstances begins to pull them apart. 

This is a play that we have been crying out for - and a true testament to what theatre can do. Ava Pickett has started something extraordinary, and I encourage everyone to go along for the ride.

1536 is at The Ambassadors Theatre until 1 August

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