Hever Castle and Gardens, Kent.
6 August 2025.
My experience with Historalia Productions’ Anne Boleyn The Musical began with a gorgeous afternoon stroll around Hever Castle and Gardens including the picturesque Italian gardens, nestled in the Kent countryside. Anne Boleyn’s childhood home, lovingly restored and full to the brim of her personal history. Outdoor summer theatre is such a British treat – especially, like today, when the weather is good! This evening, a happy and relaxed audience soak up the pre-show atmosphere with food and drinks under a huge white fairy-lit awning.
As we enter the auditorium, we are given headphones for greater sound quality in the open air – but under cover – theatre. The stage flooring is chequered red, black and yellow and, at either side, moveable staging structures turned continuously creating staircases, balconies, inside castle scenes and more. And the most authentic backdrop possible – the grounds and Hever castle itself!
Born at the turn of the 16th century, Anne Boleyn has often been portrayed as a seductress. But tonight, her character is explored in much greater depth. Writer and co-lyricist Rebecca Night said, “One of the greatest challenges was finding the best way to tell her story – in a fresh way that shows Anne’s drive, humanity and agency.”
As atmospheric music begins to play through our headsets, we see Anne Boleyn, played by Emily Lane, walking across the grounds from the castle towards us. She steps on to the stage – the headsets are sensitive; we can hear her footsteps and the fabric of her dress as she lifts it to step up. She addresses the audience boldly.
“Even though it seems like the fight is over, it’s only just beginning.”
Young Anne enters, protesting against being sent away to the European Courts. She appeals to her brother George who realises how he will miss her. We are whisked directly to France with the scene changing around Anne. She is encouraged to read and learn in France, and here is an effective moment with the cast each holding a book and reaching them out in different directions. Anne grows up, war is declared, and she is sent back to England, where her father immediately starts to talk of marriage. In the song “One Day”, we can begin to hear the capabilities of Lane’s rich and melodic voice.
Anne’s lines and her deliverance of them in particular offer great insight to her character. How she chatters excitedly, for example, when King Henry gives audience to her ideas to help the poor. He tells her she is a breath of fresh air and appoints her as Queen Catherine’s new lady in waiting. Anne then finds herself romantically pursued by the King. There is an amusing scene where he can be seen riding his horse through the grounds of the castle. Flags are raised on posts semi-circling the stage and Anne’s household scurry almost pantomime-like preparing food and beds for the King’s visit.
The well-thought-out contemporary script manages throughout to keep the historical structure and context and give it a humorous lift.
“Can I get you anything, sir?” King Henry is asked.
“A son that lives.” Came the dry reply.
Anne daringly resists King Henry’s advances to begin with. But he bombards her with love letters, though he is still married. The idea begins to grow on Anne and she sees her opportunity to make a difference in the world as his wife.
King Henry, played by Mark Goldthorp, reveals an amenable, even jovial side to King Henry. He makes Anne promises and uses a gentle tone with her. Interesting to see, but his cold callousness is not far away.
Goldthorp’s voice is not as strong as Lane’s and his demeanour not hugely imposing as King Henry VIII, in spite of the fabulous period costuming, but he does bring energy onstage as well as a great relationship with sidekick Cromwell, played by Matt Bond. Bond has a powerfully deep singing voice and draws out the snide and power-hungry side of Cromwell’s character, especially in their duet “What Say You.”
One of the most awesome parts of the whole production has to be the use of the grounds behind the stage as a deep extension of the performance space. It is incredibly effective. Act 1, in late evening light fading to dusk, has such a different feel to Act 2 which opens in darkness – the castle in the background lit first in a pink hue, and then in blue. A cross is even projected onto it for a church scene.
There’s clear and swift storytelling including plenty of stirring music and songs guiding us through King Henry leaving the Catholic church and creating his own so that he can divorce Catherine and marry Anne. Noah Sinigaglia gives a compassionate and self-respecting performance as Queen Catherine.
Anne promises her new husband a boy – an heir – and falls out of favour when she delivers a girl, Elizabeth I. Though his words are cutting, Henry’s lines still have comedic element.
He then holds a screaming Anne whilst sending the baby away to be raised in another palace in spite of her pleading. When Anne next delivers a baby boy who passes away, she knows she is in trouble. There is unrest among the people too, who are starving. King Henry despises being unpopular and blames Anne, with a lot of help in his ear from Cromwell. Anne begins to see her husband for who he is.
“When I look at him, I just see the lies.”
With his words and accusations twisted so tightly she can’t think straight, Anne hugs her daughter Elizabeth goodbye as we build towards the climax. She knows she can’t escape. Though the execution scene done in blackout was not as dramatic as anticipated – it was both tender and heart-wrenching when just prior, Anne’s mother – played by Kim Ismay – told her she had been the light of her life and gently removed her headdress for her.
A rousing whole cast song “Rise Up” brought everyone back together, and they were given an instant standing ovation.
By Louise Ryrie of Dance Informa.
