Chaos and brutality in Reading Abbey Ruins

RABBLE Theatre’s Henry I at Reading Abbey Ruins until July 1. Review by TONY TRIGWELL-JONES

Rabble Theatre’s revival of their 2017 biopic of the life of Henry I perfectly captures the chaos and brutality of Medieval England and Normandy. A time in which both countries were violent playgrounds for rich French nobles to squabble over their ambitions.

The play’s powerful opening sets the scene beautifully with the full ensemble singing “Mea Culpa”, the Latin emphasising the themes of Christianity and the divine right of kings, while the meaning (it’s my fault) hints at Henry’s rationale for the building of Reading Abbey in 1121 – as he sought forgiveness for the death of his children and mutilation of his grandchildren.

Somehow, within this tale so full of blood and backstabbing, plotting and slaughter, the gifted ensemble cast, expertly directed by Hal Chambers, bring levity and power in equal measure. Mark Middleton’s Robert Curthose (William I’s eldest) is a well-pitched buffoon; William Rufus (William I’s successor), as portrayed by Gabrielle Sheppard, is a vamping, flamboyant narcissist; and Rabble Artistic Director Toby Davies approaches Henry with balance and humanity.

This trio of dysfunctional siblings are assisted by Robert De Belleme, whose notorious cruelty is thought to have led to the legend of Robert the Devil, is played with relish by Greg Barnett. Joseph Black’s Roger of Salisbury remains affably pious, a witness to some of Henry’s greatest abuses, his quietly poised performance adds emotional weight to many key moments.

The history books are short on detail when it comes to the lives of its women, but here they are given the strength behind the crown, as Amy Conachan’s canny Adela of Blois puts it: “the men go to war, we make the future.” She says this to Agnes of Ponthieu, whose forbearance is portrayed with exquisite skill by Anjelica Serra. Meanwhile, Georgie Fellows’ Edith (Good Queen Maud) is a savvy twenty something, acting as fearless regent for her largely absent, though affectionate husband.

The most effective dramatic moments come when the ensemble is used in large-scale set pieces, most notably in William II’s fateful hunt and the sinking of The White Ship.

Rabble Theatre’s Henry I is a far cry from dry historical drama, in the hands of writer, Beth Flintoff it is a gripping human story, beautifully structured, excellently researched and crafted with care and empathy. As the epic tale draws to a close, the company sing a hymn, seemingly to the very walls that surround us, their voices echoing down through history in this full house of miracles.

The play runs until Saturday 1 July, before touring to Winchester and London – don’t miss it!