“a stand-out exemplar for other locally-rooted companies wishing to make drama that speaks compellingly to their audiences”
When Game of Thrones and other big budget spectaculars grab the headlines and audiences, how can 900 year old stories be brought to the stage in a way that will speak to modern audiences? This is the challenge with which Reading based company Rabble have been engaged since their founding in 2012.
This latest production is their biggest yet. Based on a show that premiered in 2016, it follows the life of King Henry I of England from the moment his father William the Conqueror died in 1087, to his own death 48 years later. This is raw and visceral theatre. The writing is not cod historical but vivid and gripping.
Eleventh century lives were short and men’s war-making was brutal. But this play is also feminist to its core, placing women at its heart, both in casting women actors in male roles and in depicting the pivotal roles women played in the story.
Rabble’s vision is also community-based and often site specific. Over 500 members of the local community were involved in bringing this epic to the stage. It sits in a sequence of linked history plays the company have developed. They appear amongst the professionals in the show and continue to be involved in workshops around the play which tours to Winchester and the Actor’s Church in London after its Reading run. In Reading it is performed in the ruins of the great abbey Henry I built to expiate his memory, and where he lies buried. There’s a further frisson. The final scene is performed on the very spot where the events depicted occurred.
Beth Flintoff’s Henry I uses a rich variety of story-telling techniques to bring a great swathe of history to dazzling life. Characters speak directly to their audience about their future. Climactic crowd scenes play out in slow motion with compelling lighting effects by designer Michael Brenkley. Many of the costumes by Sarah Jane Booth are a lush riot of satin and velvet and her spare set suits the full-on and physical drama to a tee.
Amongst an outstanding cast, Toby W Davies is excellent as Henry I. Whilst some other characters occasionally veer close to parody, he gives a compellingly real performance of vulnerability and struggle amongst all the rabble-rousing. Georgie Fellows is his queen and Mabel. Like the exceptional Amy Conachan (Adela Countess of Blois), she gives a blisteringly feisty performance of a woman at the heart of the action.
Greg Barnett is a wonderful embodiment of lip-smacking evil as Robert de Belleme. Mark Middleton is a peevishly inadequate brother to Henry and has some moments of fine comedy. Gabrielle Sheppard cuts a swaggering dash as William Rufus and William Atheling. Anjelica Serra gives an equally energetic and compelling performance in this high octane show that delighted the first night crowd. Joseph Black has huge stage presence as Bishop Roger and Conran.
Many other performers give wonderfully energetic and committed performances in this brilliant show which is a warmly recommended triumph for Rabble. It is also a stand-out exemplar for other locally-rooted companies wishing to make drama that speaks compellingly to their audiences. Congratulations to Director Hal Chambers for bringing this production to such electrifying life.
Reviewed on 15th June 2023
by David Woodward
Photography by Alex Brenner
Further dates:
12th – 15th July 2023 Winchester Great Hall, Winchester
20th – 22nd July 2023 St Paul’s Church, Covent Garden, London
“I sat in a sea of bewitched adults and wide-eyed children”
If anything was going to make me feel festive, Wilton’s Music Hall was the perfect place to start. Having passed through the characterful entrance into the vaulted ceilings and the bare charm of the auditorium, I felt I was stepping into a bygone Christmas card: a twinkling fir tree, the church-like surrounding balcony, and the choral music evoking a Carol concert.
Over 80 years ago Poet John Masefield wrote this enchanting story. It has the feel of folklore and fairy tale yet holds many modern elements: Time travel for the Doctor Who lovers. Flying vehicles for the Harry Potter fans. Talking animals for the C.S. Lewis classicists. Good magicians … bad sorcerers … somewhat Lord of the Rings …? All packaged up in a boy’s struggle to find the courage and skill to ensure that evil does not overpower good.
Kay Harper (played by Alistair Toovey) is our young hero guarding the mysterious box for an elusive Punch & Judy man who is desperate to keep it out of the wicked hands of sorcerer Abner Brown (both parts played wonderfully by Matthew Kelly) who desperately wants the magical box and its amazing secrets for himself. The uneven battle is on. Kay with his playmates Mariah & Peter (enthusiastically played by Safiyya Ingar and Samuel Simmonds) and Abner with his witch of a wife (played with a sinister calmness by Josefina Gabrielle) and vicious hangers on (including a duplicitous performance by Tom Kanji – who is also the ineffective police officer of the piece!)
This adaptation for stage by Piers Torday is beautifully done, with a scattering of jokes and jibes that only the adults get. Puppets. Music. Video. Parachute quantities of fabric. Movement and poise. With light and images keeping your eye focused to avoid the slight of hand.
I liked the way the 1930s costumes blended into the theatre making me feel we had ourselves, travelled back in time. Designer Tom Piper’s draped set is amazingly versatile and blends into the ‘shabby chic’ restoration surrounding the stage making the seated patrons feel they are part of the stage. The use of projected imaging added a cinematic feel and afforded blizzards, magnificent creatures, raging infernos and further amazing effects from video designer Nina Dunn.
The cast all give brilliant performances, balancing a timeless, classic children’s story on the good side of old fashioned, and the comedy moments the right side of farce.
I sat in a sea of bewitched adults and wide-eyed children who gasped, giggled and clung to their adults in anticipation. Their silence throughout the performance said it all – if you can hold their attention so solidly you are doing something very right indeed. With festive music (Ed Lewis) interwoven and humorous laugh out loud moments from both the children and the villainous pursuers, everyone watched with smiles on their faces.
Steering away from vaudeville style pantomime, this seasonal production is the perfect alternative for children and adults of all ages and not to be missed. This show is exactly what it says it is: A Box of Delights, an early Christmas gift, festooned in magic and mystery which sparkles when opened. Unwrap it now!
