A MAN FOR ALL SEASONS

Theatre Royal Brighton

★★★★

“nuanced and precise, favouring emotional honesty over melodrama”

Rarely does a historical drama feel as immediate as Robert Bolt’s A Man for All Seasons, written in 1960. This revival brings to life one man’s stand against political pressure and moral compromise, led by a quietly powerful Martin Shaw. The play’s questions about power, integrity and silence feel uncomfortably relevant.

Set amid the political and religious upheaval of 16th-century England, the story follows the final years of Sir Thomas More – statesman, scholar and devout Catholic. As King Henry VIII seeks to annul his marriage to Catherine of Aragon, More finds himself at the heart of a moral and constitutional crisis. His refusal to endorse the King’s actions or recognise him as Supreme Head of the Church costs him dearly. What unfolds is a steady fall from power, as More chooses principle over expedience.

Shaw brings gravitas with a thoughtful, affecting portrayal. His More is marked by quiet dignity and emotional clarity; with measured intensity, he draws the audience into the heart of a profound moral struggle. His performance compellingly captures both the human vulnerability and heroic steadfastness of the character.

Guiding us through the events is Gary Wilmot as The Common Man, who shifts between a variety of working-class roles – a steward, boatman, jailer and more – with a wry self-awareness that breaks the fourth wall. His conspiratorial, humorous commentary invites the audience to reflect not just on the political manoeuvrings of Tudor England, but on the quiet adaptability – and complicity – of ordinary people within systems of power.

Among those manoeuvring within the court are the swaggering Duke of Norfolk (Timothy Watson), the calculating Thomas Cromwell (Edward Bennett), the opportunistic Richard Rich (Calum Finlay) and Signor Chapuys (Asif Khan), the astute Spanish ambassador – all played with conviction and clarity by a uniformly strong cast. Orlando James makes a vivid impression as Henry VIII in a single, pivotal scene. James’s Henry is full of charm and command, shifting from affability to latent menace, revealing the charisma and authority of a ruler accustomed to bending others to his will. While his stage time is limited, James delivers a commanding performance that powerfully establishes the moral stakes of the play.

Meanwhile, Abigail Cruttenden and Rebecca Collingwood bring warmth and depth as More’s wife Alice and daughter Margaret – figures of devotion and anguish who watch helplessly as the man they love walks a perilous path. Sam Phillips adds further nuance as William Roper, Margaret’s fiancé and later husband, torn between his own convictions and his love for Margaret. Together, this trio deepens the emotional tension at the heart of the story.

Director Jonathan Church demonstrates deft control of classic text. His production is nuanced and precise, favouring emotional honesty over melodrama, allowing Bolt’s ethical dilemmas to unfold naturally. Tighter pacing in the second act would have sharpened the dramatic tension further, but overall, it remains thoughtful and well-judged.

Simon Higlett’s set design evokes Tudor England with subtle elegance, creating a functional yet atmospheric space. His costume designs complement this with richly textured fabrics –cotton, wool, velvet, leather and fur that carefully reflects each character’s status and ambition. Mark Henderson’s lighting adds further depth, using shadows and warm, flickering tones to evoke a Holbein painting, enhancing the production’s rich historical atmosphere.

Though set in a world far removed from our own, the play’s timeless questions about integrity, compromise and the cost of standing by one’s beliefs resonate with urgent relevance. This production lets Bolt’s powerful writing speak for itself. It’s an intelligent work that both challenges and entertains.