“Less is more” (no pun intended) seemed to be the guiding principle of the set design for The Nomads’ production of Bolt’s great play, and very appropriate it was too. The restrained use of props and staging allowed the language to shine through and for the dense and complex facts to be set clearly before us. The elegant oak panelled flats remained as a reminder throughout of the strength perhaps of More, the richness of his position and of those with whom he deals. The central feature of the staircase not only provided strong and impressive entries and exits, but for those who wanted to consider the possible symbolism of the production, the stairs provided a reflection of rank and willingness to modify status for example More descending to his family, the King descending to More and finally, More ascending to his death and heavenward.
The virtually imperceptible changes of scene achieved by the very simple readjustment of two chairs, a few simple props but mainly by the clever changes of table covering were hugely successful and effective. Again, the content was the main focus and not the “things”.
There was some spectacular use of back projection; a simple but very effective way of changing our consciousness from inside to outside and from More’s home to his jail. The mullioned window slide was especially lovely. Lighting added to the interest and mood of the whole piece. There were nice moments of “secretive” lighting where one could only see the face of the narrator. The alternating blues of the Thames and the stained glass window effect of thered and green lighting stayed in the memory.
One could go on, but suffice it to say that the lighting and music together made a significant contribution to the performance. My personal thanks for the magenta washes. Magenta must surely be amongst the most royal of lighting colouring and effects. The costuming, of course, was a vital component. The autumnal shades seemed so very appropriate to the course of the life of the main protagonist and made it a pleasure to watch.
This leaves us with what should have been and undoubtedly was the central focus of the production; the actors and the words they spoke. One can only say that they treated the theme with great reverence, respect and clarity. Whilst we grew to love More, beautifully measured and sustained by Keith McDonald, Steve Rowland’s Cromwell attracted one’s loathing and anger, though this was relieved momentarily when he tried to persuade Thomas that there was still time. This was a confident, well articulated and carefully drawn performance. The interplay between these two characters carried the force of the play and sustained it to its tragic end.
Playing cameo roles is a very tough business but one which Colin Clyde managed with ease. One has little time to create a presence, especially difficult if they are very significant to the progress of the story line. Colin created a very believable Wolsey and a sober committed Cranmer. However, his more substantial and well thought out Signor Chapuys added a particular colour and at times, even humour to the piece. His flourishes and gestures were a delight.
