Review: Fallen in Love (Tower of London/Red Rose Chain)
The moody
overcast sky and the anniversary of the execution of George Boleyn in 1536
seemed fittingly portentous for the opening night of Fallen in Love in the Tower of London. The
Suffolk-based Red Rose Chain are probably best known for their child-friendly
summertime Shakespearean romps in the forest, which explode with energy,
enthusiasm, and humour. In contrast, this controversial play about the rise and
fall of Anne Boleyn, the feisty queen executed by Henry VIII at the age of just
35, is turbulent and dark, almost a gothic prelude to the summer we’re still
waiting for.
Written by Joanna Carrick, the play is a series of snapshots of
crucial moments in Anne’s life, charting her early adulthood, the fateful
attentions of the king, and her constant struggle to bear a male heir and to
make Henry love her, which ultimately leads to death. There’s a real sense of
growing tension as the scenes become shorter and faster, with the contrast of
delightful and poignant moments where Anne and her brother George seek
escape in regression to childhood, fooling around with silly voices and singing
ballads.
This brings us to the controversy: Carrick’s play centres not on
the relationship between Anne and Henry, but on that between Anne and George.
We all know of the vivacious, daring woman who captured the heart of a king and
had him turn the country upside down so they could marry. Fallen in Love takes us deeper, presenting Anne and
George as physical and emotional personalities with desires and ambitions,
and leaving the audience to decide the truth of the charge of incest brought
against them. The production feels like a historical novel brought to life on
the stage, and it is no coincidence that Tudor historian and author Alison Weir
has lent her support.
Fallen in Love, like much historical fiction, presents the
often ignored side of history: the female version of the story. Carrick makes
clear Anne’s purpose as a political tool at a time when women were generally
regarded as mere chattels, and the devastating birth of a second princess in a
society ruled by men. Anne could only exercise her power through men, and this
frustration is skilfully presented by Emma Connell as the leading lady. Connell
is particularly convincing as the young favourite of the king, exasperated
after six years of holding off Henry’s sexual advances until the legitimation
of the affair by marriage. Scott Ellis’s portrayal of George is also thoroughly
enjoyable, contrasting the boisterousness of youth and his deep affection for
his sister Anne.
The play ends with a moving speech from each sibling before their
executions. Unfortunately, this tragic atmosphere is spoiled by the final image
of Anne and George reunited in heaven as white petals fall from above; it seems
Carrick decided she had to add an imaginary happy ending to this sad tale, and
it feels rather tacky. This is soon forgotten, though, when you walk out
through the Tower and remember that Anne was imprisoned, executed and buried
right here. What could be better than a powerful production staged where the
action actually happened all those years ago?
Fallen in Love is at the Tower of London on selected dates in May and June until June 16. It is also being performed at Gippeswyk Hall in Ipswich. For more information and to book tickets, please visit the Fallen in Love website.
Originally published on A Younger Theatre: http://www.ayoungertheatre.com/tag/fallen-in-love/
