British Theatre
REVIEW: Wolf Hall / Bring Up The Bodies, Aldwych Theatre ✭✭✭✭✭
HomeNews & ReviewsREVIEW: Wolf Hall / Bring Up The Bodies, Aldwych Theatre ...
31 July 2014 · 2 min read · 388 words

REVIEW: Wolf Hall / Bring Up The Bodies, Aldwych Theatre ✭✭✭✭✭

In most respects, it is better and more vibrant, more deftly detailed, than it was in Stratford Upon Avon. It's an unrivalled spectacle of theatrical ingenuity. Go. Just go.

Aldwych TheatreBen MilesBring Up The BodiesJeremy HerrinMike PoultonReviews

Wolf Hall/Bring Up The Bodies Aldwych Theatre 28 and 29 July 2014 5 Stars Now well into its West End transfer, the Royal Shakespeare Company's exhilarating production of Mike Poulton's adaptation of Hilary Mantel's twin Booker prize winners, Wolf Hall and Bring Up The Bodies, continues to enchant, entertain and enlighten.

In many ways, the productions, helmed by Jeremy Herrin, are in crisper, more visceral and thrilling form than when first seen in Stratford. The shift to a proscenium arch stage has not dulled or detracted.

Ben Miles has developed acres of intricate detail in and around his central, star turn as Thomas Cromwell. He almost never leaves the stage and while on it commands it effortlessly. The sense of the simmering anger of the former Blacksmith's Boy is ever present, perfectly aligned with the calculating political mind and the sense of duty and loyalty. The twinkle of comedy he adds provides stimulating zest.

Paul Jesson is now completely relaxed and pitch-perfect as Wolsey, equal part grandee and low-born made good. The tone of the his performance is now spot on.

Replacing Joshua James as Cromwell's protege, Rafe Sadler, is Joshua Silver (was the Christian name Joshua a pre-requisite for casting?) and he has a key advantage over James: physically, he could be a young Miles, so the sense of Mini-Me is ever present and that is for the better. Silver has a winning, cool and observant presence and he is, in equals parts, steel and sympathy.

The rest of the cast provide the same, detailed and intriguing performances as before, although in almost every case there is an assurance, a confidence and a depth which resonates and adds to the overall effect.

Only Matthew Pidgeon (Bishop Gardiner) and Nicholas Day (Duke of Norfolk) stray unfortunately into overblown bluster and goggling-eyed ham - everyone else provides finely honed, believable performances, many of them handling multiple roles. The women in the cast are especially wonderful.

In most respects, it is better and more vibrant, more deftly detailed, than it was in Stratford Upon Avon. It's an unrivalled spectacle of theatrical ingenuity.

Go. Just go.

Book tickets to Wolf Hall at the Aldywch Theatre Book Tickets for Bring Up The Bodies  at the Aldwych Theatre Read Stephen's original review for Wolf Hall / Bring Up The Bodies at the RSC

S
Stephen Collins

Stephen Collins is a contributor at British Theatre, covering West End productions, London theatre news, casting updates, and UK stage trends.

Stay in the spotlight

Get the latest theatre news, reviews and exclusive offers straight to your inbox.

Shows mentioned

More from Stephen Collins

REVIEW: The Station Master, Tristan Bates Theatre ✭✭✭

News

REVIEW: The Station Master, Tristan Bates Theatre ✭✭✭

Connor's score owes a considerable debt to Sondheim, but, that said, it treads in very interesting paths. Complex and intricate, the melodies and harmonies reward careful listening, but there is no danger of a "hummable tune" for the most part, even though individual numbers and vocal lines are quite beguiling, instantly enjoyable.

S

Stephen Collins

News & Reviews

REVIEW: Waste, National Theatre ✭✭✭✭

News

REVIEW: Waste, National Theatre ✭✭✭✭

Barker's play is extraordinary, especially given that it was written over a century ago and revised by him in the late 20’s, the original having been banned from performance. The notions and complex philosophies which underline the narrative are as fresh, vital and important now as then. The need to invest in the future, to educate the young properly. The hopelessness of political cabals. The marginalisation of women. Double-standards in public life. The dirty compromises of party politics. The terror a true rebel with a proper cause can create in the complacent and borne to rule.

S

Stephen Collins

News & Reviews

REVIEW: All On Her Own - Harlequinade, Garrick Theatre ✭✭✭✭✭

News

REVIEW: All On Her Own - Harlequinade, Garrick Theatre ✭✭✭✭✭

The revival of Harlequinade, directed by Branagh and Ashford, now playing at the Garrick Theatre (in a 100 minute experience that includes All On Her Own and no intervals) is something of a revelation. Mostly, Harlequinade is seen in conjunction with The Browning Version, one of Rattigan’s masterpieces, usually as a curtain raiser. To my mind, that combination has never worked and Harlequinade has always seemed pale and irksome by comparison with The Browning Version. But, here, released from the curtain raiser position, placed directly in the spotlight, splendidly set up by the intense darkness of All On Her Own, the play can shine.

S

Stephen Collins

News & Reviews

Related articles

REVIEW: Wolf Hall and Bring Up The Bodies, RSC ✭✭✭✭✭

News

REVIEW: Wolf Hall and Bring Up The Bodies, RSC ✭✭✭✭✭

It is as near perfect a piece of dramatic theatre as one is ever likely to see. What Herrin and his team have achieved here is utterly, unquestionably remarkable. It is good old-fashioned entertaining theatre, built solidly with fine acting and a tremendous narrative. There are no "concepts" here - just a desire to tell a marvellous theatrical tale.

S

Stephen Collins

News & Reviews

REVIEW: The Moderate Soprano, Hampstead Theatre ✭✭

News

REVIEW: The Moderate Soprano, Hampstead Theatre ✭✭

What pleasure the play offers comes in the characters Hare has carved from fragments of history. Roger Allam, almost unrecognisable as John Christie, does a superb job, totally transforming himself into a funny, fussy, oddly dressed Opera lover. He makes eccentricity part of the fibre of Christie and superbly shows his extremes: his anger about Glyndebourne when things don’t go his way; his gentle adoration of Audrey; his unflappable belief in the inherent value of Opera as the most sublime aspect of humanity.

S

Stephen Collins

News & Reviews

REVIEW: Oppenheimer, Swan Theatre ✭✭✭✭✭

News

REVIEW: Oppenheimer, Swan Theatre ✭✭✭✭✭

Morton-Smith has written a masterpiece which Angus Jackson has cast and directed in a way which gives it full measure, lustre and power. No one here gives anything other than a first-class performance. John Heffernan, in the central role, with the bulk of the play squarely on his shoulders, is world class. He is magical, mercurial, magnificent.

S

Stephen Collins

News & Reviews

REVIEW: The Nether, Royal Court Theatre ✭✭✭

News

REVIEW: The Nether, Royal Court Theatre ✭✭✭

At ninety minutes, it's worthwhile time in the theatre. But better casting would have resulted in an experience that might have matched Es Devlin's extraordinary set.

S

Stephen Collins

News & Reviews

REVIEW: Henry IV Part One, RSC ✭✭✭

News

REVIEW: Henry IV Part One, RSC ✭✭✭

Perhaps it was just that Richard II promised so much, but this Henry IV Part One did not make one long for Part Two.

S

Stephen Collins

News & Reviews

Type to search...