Producer: Theatre Royal Bath productions
Author: Robert Bolt
Director: Jonathan Church
Venue: The Arts Theatre, Cambridge
Performance: 27 October 2026
An outstanding cast performs this gripping new production of Robert Bolt’s A Man for All Seasons, with Martin Shaw commanding the stage as Sir Thomas More and Paul Kemp bringing a mischievous wit to the role of the Common Man.
Shaw gives a dignified and compelling performance as More, a man determined to uphold his principles in the face of mounting pressure. While those around him compromise their integrity to please the King and protect their own heads, More remains steadfast, ultimately paying the price for his conscience.
Written in 1960, Bolt’s play remains as gripping and insightful today. The celebrated 1966 film adaptation won six Academy Awards, including Best Picture. At its heart is a timeless question: how far should we go to defend our beliefs, and can silence really protect us when those in power demand our submission?
The play is set during one of the most turbulent periods in English history. Henry VIII is determined to end his marriage to Catherine of Aragon, who has failed to provide the male heir he desperately wants. His ambition leads him into conflict with the Pope, a break with Rome and the establishment of the Church of England, with Henry declaring himself its Supreme Head. More’s refusal to support the King’s actions places him on a collision course with the Crown.
Paul Kemp’s Common Man sets the tone with a witty opening monologue delivered directly to the audience. He then takes on a succession of roles, from More’s steward to a boatman, jailer and executioner, bringing each character to life with aplomb. His mischievous delivery and numerous costume changes provide welcome comic relief while reminding us of the ordinary people caught up in the machinations of the powerful.
At the beginning, More is at the height of his success, enjoying the King’s favour. Yet the seeds of his downfall are already sown. His opposition to Cardinal Wolsey over the proposed annulment of Henry’s marriage reveals a man whose conscience will not allow him to compromise his beliefs, even when doing so would be far safer. His silence and refusal to take the Oath of Supremacy, speak volumes.
Meanwhile, Thomas Cromwell is steadily consolidating his power as the King’s right-hand man. Sam Phillips portrays him as a ruthless bully, menacing and determined to get his way whatever the cost. Orlando James brings huge bravado to Henry VIII, capturing the arrogance and entitlement and, crucially, the ruthlessness of a monarch accustomed to having his wishes obeyed. Although Henry respects More, that respect has its limits: he expects loyalty and compliance, and cannot accept that his former ally might stand in his way. It is a shame that we see Henry only once, as James delivers a brilliant characterisation with tremendous stage presence.
Ultimately, More’s integrity frustrates everyone, including his long-suffering wife, Alice (Polly Kemp), and daughter, Margaret (Grace Malony). As he falls from grace, their once-comfortable life is reduced to genteel poverty. Both women desperately want him to change his mind and take the oath, but even imprisonment in the Tower fails to shake his resolve. He maintains his dignity, even while imprisoned, and in his reduced state of wealth and well-being, reflected in his bearing and costume.
Finally, More is brought to trial, where Cromwell and his long-time friend Norfolk (Chris Larkin) bring the case against him. Cromwell’s impassioned argument that More’s silence is heard across the world, coupled with false testimony from the turncoat Richard Rich, seals his fate. More is sentenced to death, his unwavering principles proving no match for a system determined to secure the King’s will.
The set, designed by Simon Higlett, also deserves special mention. The impressive wood-panelled hall, complete with flickering fireplace, establishes More’s home beautifully, while subtle changes transform the space into the Tower prison and other settings. An elegant and versatile design that allows the action to flow seamlessly between locations without losing the atmosphere of the period.
The final word goes to the Common Man, who brings the play to a close by summarising what happens to the characters afterwards, leaving the audience to reflect on the consequences of their choices.
There are some truly impressive performances in this production, too many to mention individually. As a fan of this period of history, and of other interpretations, such as Hilary Mantel’s Wolf Hall, I found it a hugely enjoyable evening. More than a historical drama, this is a powerful reminder of the personal cost of standing by your principles when those in power demand obedience. A compelling production of a play that remains as relevant today as ever.
