SADC bringing history to life

Anne Boleyn by Howard Brenton

Wednesday 19th - Saturday 22nd November 2025

Sutton Amateur Dramatic Club

Sutton Amateur Dramatic Club (SADC) took on Howard Brenton’s "Anne Boleyn", a dark, incisive examination of one of history’s most fascinating queens. Brenton’s 2010 play, which premiered at Shakespeare’s Globe (an almost unsettlingly distant moment given the shifts in our political and social landscape since) presents Anne not as the seductress or tragic victim so often depicted, but as a politically astute, religiously significant figure whose influence echoed across decades.

Brenton’s script frequently breaks the fourth wall, referring to the audience as “demons of the future” drew appreciative laughter while deepening the play’s commentary on power, religion and the pageantry of monarchy. (“Worry when monarchs read,” one character quips, in a line that feels uncomfortably relevant today.)

One of the production’s strengths was its clarity in handling the play’s dual timelines: Anne’s rise and fall in the 1530s alongside King James I’s reign some eighty years later. The juxtaposition made the ongoing repercussions of Anne’s actions feel immediate, even inevitable and director Peter Bramwell, leaned confidently into that historical resonance.

The play opens with the ghost of Anne Boleyn addressing the audience, and Ella McDonnell’s performance in the role is captivating from the moment she enters the auditorium. I was drawn in by her intense, deliberate eye contact, later when Thomas Cromwell (David Hedges) remarks on Anne’s uncanny ability to look through a person, the choice becomes brilliantly clear. McDonnell balances Anne’s intelligence, wit and political sharpness with moments of painful vulnerability. Her smirks, her command of stillness and her ability to hold the stage even in silence made her a compelling anchor for the entire production.

Rob Preston’s Henry VIII arrives onstage dripping with sleaze, his predatory gaze unmistakable. Yet Preston delivers more than a caricature. In the scene following the loss of a son, staged with striking restraint, a blood-stained cloth draped over a basket, there is a fleeting but surprising pang of pity. The production captures the societal pressure: a king must have a male heir, and failure comes at a personal cost for both spouses, albeit in very different ways. That pity quickly fades away as we realise one of the ladies in waiting is his next target and see the start of this relationship cycle begin.

David Hedges’ Thomas Cromwell is a standout amongst the twenty person cast. His charm, poise, and subtle menace make him one of the production’s most compelling presences. He delivered the play’s political undercurrents with an ease that made his character both magnetic and unsettling. Special mentions must also go to Stuart Michie-Bramwell (James I), Julia Coleman (Lady Rochford) and Ian McLenaghan (Cardinal Wolsey) whose strong performances played a pivotal role in driving the story forward.

Visually, the production excelled. There are no elaborate set changes. Instead, a large multi-purpose permanent set provides multiple entrance points and enough detail to create a variety of distinct spaces. Sharon McElroy, with support from Ira Murray, provided high-quality, thoughtfully detailed costumes which brought the characters life. Henry’s outfit, with its intricate floral patterning, offered a quietly effective display of wealth and authority, while the Cardinal’s vivid red robes, particularly striking in a moment when the lights drop, created one of the production’s most memorable images.

I did find the beginning of the second act did drag slightly before the narrative regained momentum.

Overall, SADC delivered a sharp, engaging, often funny interpretation of Anne Boleyn, one that highlighted the play’s modern relevance without ever feeling heavy-handed. With strong performances (especially from McDonnell, Hedges and Preston) and a keen understanding of Brenton’s commentary, this was a production that balanced humour and history with confidence.

Help SADC find a new home for their productions

This production was staged at the Adrian Mann Theatre at NESCOT. Sadly, the venue is being repurposed as a lecture hall, making this the final play to be performed there. SADC will move to the Cryer Arts Centre for their productions next year, but they are seeking an an alternative venue that can accommodate larger casts in the future. If you know of any affordable theatre or performance spaces in or around the London Borough of Sutton, SADC would love to hear from you.