ROUNDABOUT BLOG

Dear Roundabout Subscriber,

I’m so happy to be presenting the first Broadway revival of A Man for All Seasons, which premiered in 1961 with a much-lauded performance by Paul Scofield as the title character, Sir Thomas More (a role that he later reprised on film).  Most people know that Robert Bolt’s play depicts a particular moment in history – when King Henry VIII declared himself the head of the Church of England after the Pope refused to grant him a divorce from his first wife, Catherine, and Henry’s own Chancellor, Sir Thomas More, was persecuted for his unwillingness to endorse the King’s actions. It would seem that a play tackling such an important moment in history would have to be epic in scale, but the brilliance of Bolt is how he brought this battle of politics, religion and ideals down to human scale. The scenes are not overpopulated with the teeming crowds of Henry’s court, but rather they are small groupings of the key players, meeting in dark passages and behind closed doors – the few planning the fate of the many.

I think this surprising intimacy is a large part of what attracted Doug Hughes, Roundabout’s Resident Director, to direct this piece. Doug has spoken of its fascination coming not from depicting the historical events that we all once learned about but from showing “the night before history.” As Doug’s past credits include Inherit the Wind, Howard Katz, Doubt, and Frozen, I know that he brings a keen eye to the many moral questions that this play raises.

And I am particularly thrilled that Frank Langella, as Thomas More, will be the one portraying the struggle to answer these questions. Frank’s amazing career has included his recent Tony-winning turn as Richard Nixon in Frost/Nixon, the title role in Dracula, and performances in films ranging from Good Night, and Good Luck to Dave. Frank also has a long history with the Roundabout, having worked with us on Cyrano de Bergerac, The Father, and The Tempest.  He is a good friend to this theater, and I am so pleased to have him back on our stage in such a wonderful role.

Frank will be joined by an outstanding ensemble of actors: Hannah Cabell (Pumpgirl) as Margaret More, Michael Esper (The Four of Us) as William Roper, Michel Gill (Othello) as the Duke of Norfolk, Zach Grenier (Voices in the Dark) as Thomas Cromwell, Dakin Matthews (Henry IV) as Cardinal Wolsey, George Morfogen (Fortune’s Fool) as Thomas Cranmer, Patrick Page (The Lion King) as King Henry VIII, Maryann Plunkett (Me and My Girl) as Alice More, Jeremy Strong (New Jerusalem) as Richard Rich, Charles Borland (Twelve Angry Men) as Jailer, Peter Bradbury (The Caine Mutiny Court Martial) as Steward, Patricia Hodges (Design for Living) as Woman, and Triney Sandoval (Frost/Nixon) as Thomas Chapuys.

These actors will be working with an incredible design team: Santo Loquasto (sets), Catherine Zuber (costumes), David Lander (lights), David Van Tieghem (original music & sound) and Tom Watson (hair & wigs).

I am truly looking forward to seeing this smart, talented creative team bring this play to life this year. While the play does, of course, let us peek into a true historical moment, it also brings up issues that could not be more relevant today. After all, Thomas More (who would eventually be sainted) seals his own fate by refusing to swear to an oath that he does not believe in. On the surface, it would have been a simple act – to put your hand on a book and say one thing while believing another, if it would keep you alive. But for More, taking an oath was making a direct contract with God in which he himself was the guarantee. Things are certainly different today, as it often feels like perjury is the rule rather than the exception, and offering up money as proof of truth would have more value than offering up one’s own self. Maybe we don’t all feel the religious pull felt by More as he made this decision, but the question of integrity remains timeless. As Bolt himself wrote, “Though few of us have anything in ourselves like an immortal soul which we regard as absolutely inviolable, yet most of us still feel something which we should prefer, on the whole, not to violate.” This play makes us ask just how much of ourselves we are willing to give up before there is no self left at all.

Where do you draw the line?

I hope that you will find this production as thought-provoking as I do, and I look forward to hearing your thoughts about it.

I look forward to seeing you at the theater!

Todd Haimes
Artistic Director