Report by:   Barry Jones on Thursday 23 March 2023
Venue:  Georgian Theatre Royal, Richmond
Director:  Gregan Davis

The Tudors represent one of the most popular periods of English history. Most of us learnt about them at school and the exploits of their reigns are etched into our memory banks – the six wives of Henry VIII; the burnings at the stake sanctioned by Bloody Mary; and the defeat of the Spanish Armada and execution of Mary Queen of Scots under Elizabeth.

But what about the monarchs themselves? Elizabeth reigned for 44 years and lived through 73 years of the 118-year-long dynasty. She seemed to survive her early years against all odds (as a sitting threat to the occupants of the throne who preceded her) and when she did take the crown she was faced with an all-male patriarchal court, hell-bent on marrying her off to produce heirs and secure the succession.

Swive [Elizabeth] is a new play by Ella Hickson (premiered in 2019) that seeks to reveal the woman behind the textbook as a figure who used both her considerable intellect and femininity to face down the many threats to her existence and become one of the most influential rulers in English history.

Incidentally, Swive is an archaic word for sexual intercourse, something Elizabeth reputedly never had and led to her label as the Virgin Queen. The play neither disputes or confirms this but shows how the commodification of – and withholding of – played its part in Elizabeth’s rise to power and her ability to keep hold of it.

The action of the play takes place over a period of 39 years in Elizabeth’s life: starting at the age of 13, when her father Henry VIII died, to the age of 52 when Mary Queen of Scots was beheaded at Fotheringhay Castle. The role of Elizabeth is split between two actresses (Princess Elizabeth and Queen Elizabeth) with a colourful cast of supporting characters including stepmother and husband Catherine Parr and Thomas Seymour; sister Mary Tudor; advisor and statesman William Cecil; lady in waiting and rival Katherine Grey; and love interest Robert Dudley.

The portrayal of Elizabeth is obviously crucial to the play’s success and the production was blessed in having two strong actresses in the title role. Charlotte Finn gave a very convincing performance as the flirtatious and beguiling princess and Beki Stevenson was formidable and commanding as the cold-eyed maturing Queen. The transition between the two roles was very believable with certain mannerisms adopted by both actresses and some particularly powerful moments when both appear together on stage.

In fact, the whole cast were excellent in this polished production directed by RAD’s stalwart Gregan Davis. Jodie Martin effectively portrayed the sour but vulnerable Mary Tudor; James Sanderson and Helena Langford came together as Catherine Parr and husband Thomas Seymour to represent an early source of political and emotional danger; the constant presence of the manipulative William Cecil was admirably provided by Charlie Grumbley; Eleanor Harland excelled as the political pawn Katherine Grey; and Edward Batchelor cut a dashing Robert Dudley. Cameo roles were undertaken by Lee Bowles and Alex Caffery as the worldly washerwoman who represented the voice of the people – often with huge, understated humour.

One of the production’s key strengths was its rich and elaborate costumes which were accentuated by the simplicity of the plain black backdrops that made up the minimalist set. This was nicely offset by the musical accompaniment of Trouvére Minstrels – Gill Page and Paul Leigh – whose superb playing beautifully conjured the atmosphere of the Tudor court. The use of a monitor at the front of the stage to broadcast key dates and facts was also very effective. Death was ever present and swift in this turbulent world and the demise of characters was regularly flashed onto the screen as a cruel reminder of their fate.

At the end of the evening, the audience certainly left better acquainted with this formidable and complex character who was as much shaped by the times she lived in as she herself influenced the historical events that are her legacy. Elizabeth had a vulnerability (she couldn’t sleep because she was afraid of the dark – a result of the night left alone when her mother was executed) but also displayed a hard, cruel streak (taking delight in the butchering of a stag) no doubt the result of being a victim herself when she was imprisoned in the Tower; and she couldn’t allow herself to love because she would inevitably have had to relinquish some of her power that she so successfully hung onto.

Elizabeth remains an enigma. Mastermind. Seductress. Survivor. You decide.

Reviews

Report by:   John Holliday on Friday 24 March 2023 (edited)
Venue:  Georgian Theatre Royal, Richmond
Director:  Gregan Davis

     One of my favourite things about RADS as a Society is that they are not afraid to tackle new and exciting scripts from a vast array of genres, it was therefore very exciting to get to see and review this production of Swive [Elizabeth], originally premiered just four years previously and written by Ella Hickson. Director Gregan Davis in his notes proudly wrote how he spent a considerable time during the lockdown years researching the years this play covers around Elizabeth 1st, from her early years as an outcast “Royal” through to the execution of Mary Queen of Scots.

     This research and detail was evident from the start and by using a highly effective bare stage (just a crest of arms to be seen) and tv screens to update us on the historic timelines, it created a blank canvas for the cast to work their magic. Prior to the show starting the audience were treated to some Medieval musical entertainment from the group Trouvére which got everyone in the mood drawing us in to the feeling of being in the centre of a Tudor ballroom. Their interludes would follow throughout the show making each scene change slick and in theme with the show.

     It is a word I very seldom use however the casting and character portrayal from every single member was truly sublime. As expected the play focuses on two main time periods of Queen Elizabeth I and in this production we had Charlotte Finn playing the young Princess in Act One and then Beki Stevenson as the elder version in Act Two.

     Charlotte opened the main part of the play re-enacting the horror and terrors of being locked away, alone and in darkness as her mother is executed – her words were piercing as she delivered a highly emotional re-enactment which was complimented by some clever lighting. Throughout her scenes she interacted wonderfully with fellow cast members, especially Helena Langford who gave us some great changes in character as Catherine Parr from a warm loving mother figure to a jealous and quite vicious rival and enemy of Elizabeth – a great portrayal.

     Charlotte managed with ease to show so many sides of this complex historical figure, from a naïve and vulnerable teenager to a young lady clearly aware of how to manipulate those around her with skill and ease. It was quite simply a wonderful performance and the transition between her and Beki Stevenson as her elder self was so slick and seamless.

     Beki gave us a grown up and more determined version, clearly still shaken and affected by events in her past but with an edge and fight in her. Every word had meaning, and a purpose and she was completely believable in the role. For two very wordy roles neither actress gave us a pause or hesitation that was not used for effect or dramatic tension, incredibly impressive.

     Her friendship with Robert Dudley, played by the excellent Edward Batchelor was lovely to watch and you could clearly see the complex love and bond these two held together. As with so much of this show it had us asking so many questions, was Elizabeth so focused she didn’t have time for marriage? Were her early years so troubled she couldn’t truly trust anyone that closely? The list is endless however what is clear is the relationship created by these two very talented actors painted a wonderful picture of devotion to each other even if their individual stations could never let it be anything more than friendship.

     The one constant character in the story was William Cecil, 1st Baron Burghley, chief advisor and “confidant” to Elizabeth. Having seen Charlie Grumbley in many minor roles over the last few years it was a joy to see him take on this crucial part and he gave us his best performance to date. Effortlessly switching between the many sides of this character, from loyal aide and devoted servant to a cruel manipulator of Elizabeth and those around him.

     This was a relatively small cast but each of them gave their all to  the roles; James Sanderson giving us a quite creepy and unsettling Thomas Seymour; Eleanor Harland playing a very manipulated Katherine Grey to great effect, interacting brilliantly with Elizabeth and giving us a rollercoaster of emotions right through to her sad expulsion at the order of the lady she felt closest to; Jodie Martin, in an appearance as long as her reign, played Mary Tudor wonderfully - standing up to Elizabeth with a sharp tongue and a real robustness of character; their stand-offs were a joy to watch.

     Of course every good royal court needs serving hands and Lee Bowles bounced in and out of scenes with a great energy and pace alongside Alex Caffery as the washerwoman who brought some lovely light and humour to the show. Her interactions with Elizabeth were fabulous and it was as if she was acting as her conscience and deeper thoughts at times as the two of them, from polar opposite sides of society quizzed each other – another great side to this play.

     As I looked around the audience throughout this production there was never any chat with nobody’s focus leaving the stage – aside from the laughs and appreciation it was pure silence – a great acknowledgement of the wonderful performance we were witnessing.

Everything just worked perfectly, the costumes were fantastic, make-up was perfect, lighting and stage design was exactly what was needed and the pace and quality of acting exceptional.

     Thank you to Gregan for finding this play and bringing it to the perfect setting in the Georgian Theatre, it is one of the best plays I have ever seen by RADS and certainly left me even more intrigued by the characters and this period of History.