Anne Boleyn - musical review

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If you're looking for that special dose of something different in a show, Hever Castle, in partnership with Historalia productions, has the ideal piece to forge memories for your own history book. Following the footsteps of one of the most renowned Queens of the past, as you become immersed in her story, Anne Boleyn: The Musical transports audiences through the turbulence of the Tudors, right on the grounds of her stunning childhood home.

With the setting sun upon the castle itself being the backdrop, there's no doubt that the unique magic in the atmosphere is a treat. The purpose-built theatre is a spectacle when adorned with the cast of 70 to create a vision back in time, a specially constructed 1,800-seat outdoor auditorium, except all under cover, for necessary protection from the unpredictability of the Great British weather (although the reviewed show was on a beautiful night... so it's unknown how well it would actually withstand a storm).

With a little planning to navigate a move in carparks, it is perfectly possible to spend the day around Hever Castle and Gardens, adding to the experience and your knowledge of Queen Anne, though requiring a separate ticket. Access to the Historalia Auditorium is prohibited until the evening, but a glimpse of warm-ups and props storage can be spotted from the back beforehand. A bar with a limited drinks menu is accompanied by food of the chicken tenders and chips variety (some of the best halloumi fries you'll ever have), and a merch stand in the marquee. The available seating does fill rapidly, and the toilets are tiny, but the place begins to disperse as soon as the doors are open.

Divided into seating by 'bronze', 'silver', 'gold' and 'platinum', the latter with extra VIP benefits, it was purposefully made obvious at the entrance gate who had splurged on the expensive tickets; rather an unnecessary dig at those who did not. Sadly, there were many empty seats across the venue - it is undetermined whether this was due to location, it being the summer holidays, or some high prices in these areas. Due to the staging, it is likely that most areas actually have very good views of the performance, just a smaller portion of the castle may be visible.

Dubbed as 'groundbreaking', this production is the first outdoor production in the UK to feature binaural audio designed by the Ringham Brothers. Each audience member must wear a set of headphones, as you would for a silent disco. While a fairly seamless distribution, with few patrons needing assistance to get them working, they do become rather uncomfortable and offer little escape from this, given that it is the only way to fully experience the production. This lack of accessibility is a tad disappointing, not just for those who don't enjoy the sensory aspect, but also a cause for consideration for those wearing glasses or earrings, too. Furthermore, this method of audio takes away from the raw vocals that gives theatre that 'live' feel, rather than listening to a recording.

However, Emily Lane offers an exquisite reenactment of Anne's tales. Leading the large cast fearlessly, her presence dominates the stage in a replication of the commanding aura for which the Queen was both revered and punished. Dreamy vocals permeate the stage with both softer tones for her loving side, or more feisty when necessary. Since her father, Thomas Boleyn (played by Clive Hayward) valued her education while also giving strong encouragement to find a suitor to boost their aristocratic status, Anne always became torn between the life of love, knowledge and doing good for those in need, and fulfilling her supposed duty to marry and bear children for a man.

The storytelling, with Roxana Silbert's direction, is supported by the scenery, as the open green space leading from the castle to the stage becomes an extension, a majestic pathway for horses and maypoles. Despite a few inaccuracies and creative licence, the narrative does give a fairly firm historical account - a perspective of the Boleyn and her family that is not often shared, but sheds light that deserves to be spoken about. Typically, the rumours are believed to shape Anne into an unfaithful woman and a bad mother, without much to give in her role as Queen, yet this retelling proves otherwise. Even when depicting her respectful relationship with Queen Claude (played by Dona Atallah) and the French court, her drive for peace shines through.

An abundance of songs with lyrics by Rebecca Night and Sam Kenyon - composed by Sam Gevers - completes a score to illustrate the dramatics of 16th-century England. Many of these, with minor exceptions, blend seamlessly into the run. Alistair David's choreography weaves children and adults; leads and company amongst each other to present a visual spectacle, with the hand of Robert Innes-Hopkins' clever set and authentic-looking costumes. Frustratingly, one of the most catchy pieces includes props which seem very out of place with the otherwise regal wear. Besides this, the tunes capture some of the most unfathomable moments in Anne's life - we all know how her story ends.

Act 1 encompasses her growth as a person and a voice: the second act begins at the paramount, before that solemn turn takes hold. Both Emily and Mark Goldthorp, as the powerfully inticing King Henry VIII, depict their ageing and developing characterisation with skill that truly allows the audience to embrace their personalities. Kim Ismay embodies Joan, a mother-like figure in Anne's life who tries her best to be supportive yet a protective reminder against wayward outbursts. Similarly, George Boleyn (Joshua Oakes-Rogers), Anne's brother, shows a caring side, wishing her to have the freedom and autonomy that he does as a male, but keeps the passion inside while obeying the 'natural' order. Although only an aside to this story, Queen Katherine, played by Noah Sinigaglia, makes a punchy and memorable appearance. The chorus as a whole certainly fills the stage with movement and cohesion that is only possible with a skilful combination of performers.

In all, Anne Boleyn: The Musical is an artwork. It's true magic comes from the heart of the location, meaning this world premiere would not work anywhere else, thus limiting its future. Additionally, a few imperfect factors impede the opportunity for a five-star experience. However, attending theatre like this becomes something you are sure to want to talk about, as its vivacity and remarkable fruition will live on, much as Anne's legacy does too.