Katherine Howard

A more beautifully costumed community theatre period piece than this Katherine Howard is hard to imagine. This drama of the brief life and reign of Henry VIII’s fifth queen Katherine Howard was stunningly dressed in costumes designed by Leone Sharp, who, with her team are to be congratulated for attention to detail in lavishly evoking the Tudor court. Impressive crowns by Peter and Ann Traish complement the effect.

This tale of the intrigues involved in placing young Katherine on the throne, and in the bed of Henry VIII, then in manipulating her disgrace and execution, was given an effective, tightly-paced production with fluent transitions.

In a tight stage space, the simple single setting facilitated the smooth transitions, though its lattice-work failed to build on the evocative effect of the costuming.

There were some splendid characterizations. David Attrill’s Henry VIII was an intriguingly complex character, frequently not in control of his own destiny. One could often feel sympathy for him.

Sarah Connor’s forthright, vivacious Katherine charmed audience and King alike, credibly elevating the empathic sense of injustice. She captured a delightful fine line between naïve and knowing.

Luke Middlebrook’s Thomas Culpepper was ardent and engaging as Katherine’s lover. Boos at the curtain call for Wayne Guy’s villainous Archbishop Thomas Cranmer were testimony to the effectiveness of his portrayal. Kevin Ryan’s manipulative opportunist Duke of Norfolk was a convincing reminder of just how little politics has changed in 500 years. Sascha Hall maintained a consistent Germanic accent, portraying Anne of Cleves with dignity and poise.

Inconsistency of accents ranks as my major concern, particularly some incongruous broad Aussie accents in the Tudor court. It’s hard to quantify how much the right accent coaching would have added to this production, so painstakingly detailed in other aspects.

Neil Litchfield