A Man for All Seasons | |
---|---|
Written by | Robert Bolt |
Characters | The Common Man Sir Thomas More The Duke of Norfolk Thomas Cromwell Henry VIII Margaret More William Roper Cardinal Thomas Wolsey Alice More Thomas Cranmer Richard Rich Signor Chapuys |
Date premiered | 1 July 1960 (London) |
Place premiered | Globe Theatre |
Original language | English |
Setting | Sixteenth century England |
A Man for All Seasons is a play by Robert Bolt based on the life of Sir Thomas More. An early form of the play had been written for BBC Radio in 1954, and a one-hour live television version starring Bernard Hepton was produced in 1957 by the BBC, [1] but after Bolt's success with The Flowering Cherry, he reworked it for the stage.
It was first performed in London opening at the Globe Theatre (now Gielgud Theatre) on 1 July 1960. It later found its way to Broadway, enjoying a critically and commercially successful run of over a year. It has had several revivals, and was subsequently made into a multi-Academy Award-winning 1966 feature film and a 1988 television movie.
The plot is based on the historical events leading up to the execution of More, the 16th-century Chancellor of England, who refused to endorse Henry VIII's wish to divorce his wife Catherine of Aragon, who did not bear him a son, so that he could marry Anne Boleyn, the sister of his former mistress.
The play portrays More as a man of principle, envied by rivals such as Thomas Cromwell, but loved by the common people and by his family.
The title reflects 20th-century agnostic playwright Robert Bolt's portrayal of More as the ultimate man of conscience. As one who remains true to himself and his beliefs while adapting to all circumstances and times, despite external pressure or influence, More represents "a man for all seasons". Bolt borrowed the title from Robert Whittington, a contemporary of More's, who in 1520 wrote of him:
This section needs additional citations for verification .(July 2015) |
A Man for All Seasons struggles with ideas of identity and conscience. More argues repeatedly that a person is defined by his conscience. His own position is depicted as almost indefensible; the Pope is described as a "bad" and corrupt individual, forced by the Emperor Charles V to act according to his will. But as More says to Norfolk, "What matters is not that it's true, but that I believe it; or no, not that I believe it, but that I believe it." More fears that if he breaks with his conscience, he will be damned to hell, while his associates and friends are more concerned with holding onto their own temporal power.
At another key point of the play, More testifies before an inquiry committee and Norfolk attempts to persuade him to sign the Succession to the Crown Act 1534 (pp. 78, Heinemann edition):
Norfolk:
More:
More's persecution is made to seem even more unjust by the inclusion of Eustace Chapuys, the long-time Imperial ambassador to England, in the story. Chapuys recognizes More as a stout man of the church, and in Act II, after More's resignation from the Chancellorship, he informs More of a planned rebellion along the Scottish border, expecting More to be sympathetic. Instead, More informs Norfolk of the plot, showing him to be patriotic and loyal to the King. This, along with More's refusal to speak out against the King, shows him to be a loyal subject, and thus Cromwell appears to prosecute him out of personal spite and because he disagrees with the King's divorce.
Bolt also establishes an anti-authoritarian theme which recurs throughout his works. All people in positions of power – King Henry, Cromwell, Wolsey, Cranmer, Chapuys, even Norfolk – are depicted as being either corrupt, evil, or at best expedient and power-hungry. Bolt's later plays and film screenplays also delve into this theme. The theme of corruption is also illustrated, in Rich's rise to power, the Common Man being drawn into the events of the storyline, and in the (deliberately) anachronistic portrayal of Henry as a younger, athletic man (in 1530 he would have been almost forty and already putting on weight).
Although it is the law that eventually forces More's execution, the play also makes several powerful statements in support of the rule of law. At one point More's future son-in-law, Roper, urges him to arrest Richard Rich, whose perjury will eventually lead to More's execution. More answers that Rich has broken no law, "And go he should if he were the Devil himself until he broke the law!" Roper is appalled at the idea of granting the Devil the benefit of law, but More is adamant.
The character of the Common Man serves as a narrator and framing device. A Brechtian character, he plays various small parts – More's servant, a publican, a boatman, More's jailer, jury foreman and executioner—who appear throughout the play, both taking part in and commenting on the action. Several sequences involving this character break the fourth wall—most notably, a sequence where the Common Man attempts to exit the stage and is addressed by Cromwell, who identifies him as a jury foreman. (Indeed, the "jury" consists of sticks or poles with the hats of the Common Man's various characters put on top.) The place of the Common Man in history is emphasized when he says in his opening speech,
Bolt created the Common Man for two main reasons: to illustrate the place and influence of the average person in history, even though they are usually overlooked, and to try to prevent the audience from sympathising with the more titled characters such as More, realising that the audience is more closely related to him—a classic case of Brechtian alienation. The character's role in the story has been interpreted in many different ways by different critics, from being a positive to a negative character. Bolt's own view (expressed in the preface to the play) was that he was intended to draw the audience into the play and that "common" denoted "that which is common to us all." [3] Several of Bolt's subsequent works feature similar characters (e.g. The Thwarting of Baron Bolligrew, State of Revolution ).
This section needs additional citations for verification .(July 2015) |
Two different endings were written by Bolt. The original ending, performed during the show's preliminary run in England, had Cromwell and Chapuys confront each other after More's execution and then exit the stage, hand in hand, chuckling with "the self-mocking, self-indulgent, rather rueful laughter of the men who know what the world is and how to be comfortable in it".
This particular ending is exemplary of Bolt's notion of "riding with the current", as is demonstrated by "men who know what the world is and how to be comfortable in it", forsaking one's conscience in exchange of a life of "convenience". For the show's London production – and most, if not all, subsequent runs of the show – the Common Man sheds his executioner's garb and addresses the audience one final time:
... It isn't difficult to keep alive, friends – just don't make trouble – or if you must make trouble, make the sort of trouble that's expected... If we should bump into one another, recognize me.
The film version of the play ends with More's execution, followed by a narrator reading off the fates of the various characters involved (originally, this was dialogue spoken by the Common Man prior to the Tower of London Inquiry).
Notable casts
Character | West End debut (1961) | Broadway debut (1961) [4] | Broadway revival (2008) [5] |
---|---|---|---|
Sir Thomas More | Paul Scofield | Frank Langella | |
Richard Rich | John Brown | William Redfield | Jeremy Strong |
The Common Man | Leo McKern | George Rose | N/A |
Duke of Norfolk | Alexander Gauge | Albert Dekker | Michael Gill |
Alice More | Wynne Clark | Carol Goodner | Maryann Plunkett |
Margaret | Pat Keen | Olga Bellin | Hannah Cabell |
Cardinal Wolsey | Willoughby Goddard | Jack Creley | Dakin Matthews |
Thomas Cromwell | Andrew Keir | Leo McKern | Zack Grenier |
Henry VIII | Richard Leech | Keith Baxter | Patrick Page |
Archbishop Cranmer | William Roderick | Lester Rawlins | George Morfogen |
Chapuys | Geoffrey Dunn | David J. Stewart | Triney Sandoval |
Will Roper | Peter Brandon | John Carson | Michael Esper |
Attendant | Brian Harrison | John Colenback | Curt Bouril |
Woman | Beryl Andrews | Sarah Burton | Emily Dorsch |
The original West End cast, playing at the Globe Theatre (now Gielgud Theatre) and directed by Noel Willman, included Paul Scofield as Sir Thomas More. In London, Man ran simultaneously to another of Bolt's plays, The Tiger and the Horse . Both plays were major hits, although Horse was the more successful of the two. British critical reaction was largely positive, albeit reservedly so; few reviews at the time regarded the play as a classic. The show ran for 320 performances.
In the US, the play was first performed on Broadway on 22 November 1961 at the ANTA Playhouse, again directed by Noel Willman, [6] with Paul Scofield returning to the role of Sir Thomas More. The Broadway production was a huge hit, running for 620 performances. While the play had drawn mixed critical reviews in London, it was almost unanimously praised by the New York critics, who showered it with plaudits and awards. At the 16th Annual Tony Awards, the production earned four nominations, winning in all four categories it was nominated, including Tonys for Bolt, Scofield, and Willman. [7]
Leo McKern played the Common Man in the West End version of the show, but was shifted to the role of Cromwell for the Broadway production – a role he later reprised in the film. While playing Cromwell, he appeared with one brown and one blue eye (McKern of course had lost an eye in an accident and wore a glass one) to accentuate his character's evil nature.
A Broadway revival of the show, produced by the Roundabout Theatre Company, starring Frank Langella as More and directed by Doug Hughes, played at the American Airlines Theatre through December 2008. In this production, the character of The Common Man was deleted by the director (as Bolt had done when adapting his play for the first film version). [8] Jeremy Strong made his Broadway debut in this production as Richard Rich.
Charlton Heston played More in several versions of the play-off-Broadway in the 1970s and 1980s, eventually playing it in the West End. The play was a success and the West End production was taken to Aberdeen, Scotland, for a week where it was staged at His Majesty's Theatre. Heston considered it among his favourite roles. He also directed and starred in a television film version (see below). The production gained a sort of notoriety when Dustin Hoffman spread the story that Heston, who was bald, was so vain that he wore a wig over his hairpiece, rather than let the public view his actual bald pate.
Another famous graduate of the play is Ian McKellen, whose first theatrical role was as Will Roper in a revival production in the late 1960s. He would go on to play More in a later run of the show. Faye Dunaway also made her stage debut as a replacement Margaret in the original Broadway run.
An acclaimed Canadian production starring William Hutt and directed by Walter Learning was presented at the Vancouver Playhouse and the Stratford Festival in 1986. At Stratford the production was paired with a production of Shakespeare's Henry VIII, with both plays sharing many actors, and showing two perspectives on historical events. The play was staged at the Brunton Theatre under the direction of Charles Nowosielski in November 1986. [9]
The play was staged in London's West End at the Theatre Royal, Haymarket starring Martin Shaw and produced by Bill Kenwright. It closed on 1 April 2006.
In 2008, Thomas More was also portrayed on stage in Hong Kong as an allegorical symbol of the Pan-democracy camp resisting Chinese Communism when Hardy Tsoi, after translating A Man for All Seasons, mainly into Cantonese, but also with some parts in Mandarin, Spanish, Latin, and English, produced it as a play within a play. [10] Similarities were noted between More and contemporary pro-democracy politicians in Hong Kong such as Martin Lee and Szeto Wah, with the Vatican being seen as representing British colonialism while Henry VIII and his regime were seen as representing Communist China "suppressing democracy and freedom" in Hong Kong. [10] According to Chapman Chen, Hardy Tsoi's version of the play is one of a number of Hong Kong works that suggest that mainstream postcolonial theories which invariably portray European colonialism as oppressive need to be "modified or balanced" to reflect the different experience of places like Hong Kong. [10]
The play was adapted for Australian television in 1964.
Paul Scofield, who played the leading role in the West End and Broadway stage premieres, played More again in the first of two film versions (1966), winning an Oscar in the process. The film also stars Robert Shaw as Henry VIII, Orson Welles as Wolsey, Corin Redgrave as Will Roper, Nigel Davenport as Norfolk, a young John Hurt as Richard Rich, and an older Wendy Hiller as Lady Alice, More's second wife. It was directed by Fred Zinnemann. In addition to the Best Actor Oscar won by Scofield, the film won Academy Awards for screenplay, cinematography, costume design, Best Director, and Best Picture.
The 1988 version starred Charlton Heston (who also directed it) as More, Vanessa Redgrave (who appeared briefly and mutely in the 1966 version as Anne Boleyn) as More's wife, and Sir John Gielgud as Cardinal Wolsey. By coincidence, Gielgud's name now graces the former Globe Theatre, where the original play premiered in 1960.
The play was produced, with the following cast, as the Saturday Night Theatre on BBC Home Service on 28 February 1959:
The play was produced, with the following cast, as the Saturday Play on BBC Radio 4 on 7 October 2006, as part of its Betrayal season:
Sir Thomas More, venerated in the Catholic Church as Saint Thomas More, was an English lawyer, judge, social philosopher, author, statesman, amateur theologian, and noted Renaissance humanist. He also served Henry VIII as Lord High Chancellor of England from October 1529 to May 1532. He wrote Utopia, published in 1516, which describes the political system of an imaginary island state.
Thomas Wolsey was an English statesman and Catholic cardinal. When Henry VIII became King of England in 1509, Wolsey became the king's almoner. Wolsey's affairs prospered and by 1514 he had become the controlling figure in virtually all matters of state. He also held important ecclesiastical appointments. These included the Archbishop of York—the second most important role in the English church—and that of papal legate. His appointment as a cardinal by Pope Leo X in 1515 gave him precedence over all other English clergy.
Anne Boleyn was Queen of England from 1533 to 1536, as the second wife of King Henry VIII. The circumstances of her marriage and execution, by beheading for treason, made her a key figure in the political and religious upheaval that marked the start of the English Reformation.
Thomas Cromwell, briefly Earl of Essex, was an English statesman and lawyer who served as chief minister to King Henry VIII from 1534 to 1540, when he was beheaded on orders of the king, who later blamed false charges for the execution.
David Paul Scofield was an English actor. During a six-decade career, Scofield achieved the Triple Crown of Acting, winning an Academy Award, Emmy, and Tony for his work. Scofield established a reputation as one of the greatest Shakespearean performers. He declined the honour of a knighthood, but was appointed CBE in 1956 and became a CH in 2001.
Robert Oxton Bolt was an English playwright and a two-time Oscar-winning screenwriter, known for writing the screenplays for Lawrence of Arabia, Doctor Zhivago, and A Man for All Seasons, the latter two of which won him the Academy Award for Best Adapted Screenplay.
Sir Arthur John Gielgud, was an English actor and theatre director whose career spanned eight decades. With Ralph Richardson and Laurence Olivier, he was one of the trinity of actors who dominated the British stage for much of the 20th century. A member of the Terry family theatrical dynasty, he gained his first paid acting work as a junior member of his cousin Phyllis Neilson-Terry's company in 1922. After studying at the Royal Academy of Dramatic Art (RADA), he worked in repertory theatre and in the West End before establishing himself at the Old Vic as an exponent of Shakespeare in 1929–31.
George Boleyn, Viscount Rochford was an English courtier and nobleman who played a prominent role in the politics of the early 1530s as the brother of Anne Boleyn, second wife of King Henry VIII. George was the maternal uncle of Queen Elizabeth I, although he died long before his niece ascended the throne. Following his father's promotion in the peerage in 1529 to Earl of Wiltshire and Earl of Ormond, he adopted his father's junior title Viscount Rochford as a courtesy title. He was accused of incest with his sister Anne during the period of her trial for high treason, as a result of which both were executed.
The Famous History of the Life of King Henry the Eighth, often shortened to Henry VIII, is a collaborative history play, written by William Shakespeare and John Fletcher, based on the life of Henry VIII. An alternative title, All Is True, is recorded in contemporary documents, with the title Henry VIII not appearing until the play's publication in the First Folio of 1623. Stylistic evidence indicates that individual scenes were written by either Shakespeare or his collaborator and successor, John Fletcher. It is also somewhat characteristic of the late romances in its structure. It is noted for having more stage directions than any of Shakespeare's other plays.
William Roper was an English lawyer and member of Parliament. The son of a Kentish gentleman, he married Margaret, daughter of Sir Thomas More. He wrote a highly regarded biography of his father-in-law.
Eustace Chapuys, the son of Louis Chapuys and Guigonne Dupuys, was a Savoyard diplomat who served Charles V as Imperial ambassador to England from 1529 until 1545 and is best known for his extensive and detailed correspondence.
Margaret Roper was an English writer and translator. Roper, the eldest daughter of Sir Thomas More, is considered to have been one of the most learned women in sixteenth-century England. She is celebrated for her filial piety and scholarly accomplishments. Roper's most known publication is a Latin-to-English translation of Erasmus' Precatio Dominica as A Devout Treatise upon the Paternoster. In addition, she wrote many Latin epistles and English letters, as well as an original treatise entitled The Four Last Things. She also translated the Ecclesiastical History of Eusebius from the Greek into the Latin language.
A Man for All Seasons is a 1966 British historical drama film directed and produced by Fred Zinnemann, adapted by Robert Bolt from his play of the same name. It depicts the final years of Sir Thomas More, the 16th-century Lord Chancellor of England who refused both to sign a letter asking Pope Clement VII to annul Henry VIII of England's marriage to Catherine of Aragon and to take an Oath of Supremacy declaring Henry Supreme Head of the Church of England.
A Man for All Seasons is a 1988 American made-for-television drama film about St. Thomas More, directed by and starring Charlton Heston. It is based on the play of the same name by Robert Bolt, which was previously adapted in the Academy Award winning 1966 film A Man for All Seasons. It was the first made-for-television film produced on behalf of the TNT television network.
Noel Willman was an Irish actor and theatre director. Born in Derry, Ireland, Willman died aged 70 in New York City, United States.
Henry VIII is a two-part British television serial produced principally by Granada Television for ITV from 12 to 19 October 2003. It chronicles the life of Henry VIII of England from the disintegration of his first marriage to an aging Spanish princess until his death following a stroke in 1547, by which time he had married for the sixth time. Additional production funding was provided by WGBH Boston, Powercorp and the Australian Broadcasting Corporation.
Wolf Hall is a 2009 historical novel by English author Hilary Mantel, published by Fourth Estate, named after the Seymour family's seat of Wolfhall, or Wulfhall, in Wiltshire. Set in the period from 1500 to 1535, Wolf Hall is a sympathetic fictionalised biography documenting the rapid rise to power of Thomas Cromwell in the court of Henry VIII through to the death of Sir Thomas More. The novel won both the Booker Prize and the National Book Critics Circle Award. In 2012, The Observer named it as one of "The 10 best historical novels".
Anne Boleyn is a play on the life of Anne Boleyn by the English author Howard Brenton, which premiered at Shakespeare's Globe in 2010. Anne Boleyn is portrayed as a significant force in the political and religious in-fighting at court and a furtherer of the cause of Protestantism in her enthusiasm for the Tyndale Bible.
A Man for All Seasons is a 1964 Australian television play. It is an adaptation of the play by Robert Bolt.
Thomas Cromwell was Chief Minister to King Henry VIII of England from 1534 to 1540. He played a prominent role in the important events of Henry's reign, including the king's divorce from Catherine of Aragon, the execution of Anne Boleyn, the marriage to Anne of Cleves, the Dissolution of the monasteries, and the English Reformation. These dramatic events have provided the inspiration for plays, novels and films from shortly after his death until modern times.