More Than a History Lecture

A Man for All Seasons

By Robert Bolt

Directed by Joshua Frost

At the Leverett House Old Library

Tonight at 8:00, tomorrow night at 8:00 and 10:00

Who was Sir Thomas More? A) a man who stood his religious ground; B) a faithful servant to the King; C) a book store across from Au Bon Pain; or D) the subject of Richard Bolt's insightful and entertaining play A Man For All Seasons, which is being performed this weekend by the Leverett House Arts Society.

The answer, of course, is e) all of the above. Sir Thomas More is one of those ubiquitous figures in history who defies easy description. He's one of those wonderful history I.D.'s that lends itself to improvisation.

On the one hand, More stood as one of the most important defenders of the Catholic faith during the 16th century. On the other hand, More stood as a righteous servant to the king. Serving as Lord Councillor to Henry VIII, the staunchly Catholic More was able to remain in favor with the Crown. Not even the king's divorce from Catherine of Aragon and subsequent formation of his own Church of England fazed the ever-loyal servant.

In the Leverett House production of A Man For All Seasons, a strong cast under the able direction of Joshua Frost brings this British history lesson to life. With Frost behind the lectern and a host of interesting characters to fill up a good three hours, the play ends up being a noteworthy experience.

To help the audience wade through the play's thicket of historical references is The Common Man. Part Greek Chorus, part Johnny Carson, The Common Man (Elliot Thomson) not only appears in every other scene but also has some of the best lines in the play. Donning the guise of a dozen different rogues, Thomson acts in true Rodney Dangerfield fashion, claiming he doesn't get any respect as the resident commoner. Thomson, however, has no problems gaining the audience's respect. With his sassy sarcasm and bemused wit he has the audience at his feet.

Thomson is not the only member of the cast with a knack for stand-up comedy. Larry O'Keefe, who plays the sinister Cromwell, also has a penchant for firing off one-liners. Although he is always amusing, O'Keefe lacks the bravura that the role of the villainous Cromwell requires. His entrances, such as when he breezes onto the stage while chomping on apples, are always interesting too watch, but O'Keefe's performance is not convincing enough to leave anyone in the audience quivering in fear.

As the Duke of Norfolk, Carl B.J. Fox gives a performance that is less animated than O'Keefe's, but his work is nonetheless convincing, particularly when he exasperatedly appeals to have More commit to the King's divorce. Jeremy C. Miller, who fills the role of the athletic and dandy young Henry VIII, has a similar tendency for cracking jokes and this humor fits the role. With a flippant bow and smile Miller turns to More and mocks: "I admire your taste in music; it happens to exactly coincide with my own."

Ingratiating social-climber Richard Rich (Robert de Neufville) has an altogether different approach to politics. Rich is not ashamed to beg for a post, and he serves as a direct contrast to More, who is living the epitome of the moral life. De Neufville plays the part of the brown-noser so naturally, in fact, that one shudders to think how he would act in section.

In contrast to the good manners of Cromwell, Rich and Henry VIII is the King's belligerent advisor, Cardinal Wolsey (David Condon), who takes a more direct tack in getting More to sanction the King's divorce. Condon stomps his fist on the table, puts out candles with his bare hands and barks out his lines in Sylvester Stallone fashion. Despite all of this activity, however, Condon's energies are in vain. He convinces neither More nor the audience with his overbaked histrionics. By contrast, Margaret Meserve, who plays the Spanish Catholic spy Signora Chapuys, could have borrowed a bit of Condon's verve to spice up her less than exciting performance.

Undoubtedly one of the stronger performances in the Leverett production is Keith Connell's Sir Thomas More. The strength of More's character finds its perfect match in Connell's heroically moving performance. Connell's More is both pensive and resourceful, decisive and indifferent. The dualities of More's character give the actor the greatest freedoms to flesh out and experiment with an unlimited palette of emotions. And Connell's chromatiac range of expression brings the history book figure of More to a lively representation.

Yet not everyone is so pleased with More. His perturbed wife Alice (Allison Weller), provides a strong support performance. Pacing the stage, wringing her hands, worrying over her husband's stubborn adherence to ideals, Alice fears that her husband behaves too much "like a printed book."

Religious enthusiast and son-in-law William Roper (John Malone), with his monkish garb and holier-than-thou epithets is every father's worst nightmare. Only angelic daughter Margaret, played by a convincingly sweet Mary-Dixie Carter, is able to soothe her father's troubled conscience without reproach.

The overall strong cast in the Leverett House Arts Society's production of Bolt's play is bolstered by an able and consistent production crew. Set in the corner of the Leverett House Old Library, the stage is sparsely but tastefully decorated with Tudor-like furniture and props. To add to the period ambiance is the wooden arched lattice work that hangs from the ceiling, making one feel as if one has really stepped back in time.

They say history never repeats itself. Since this play is more than good and more than just a history lecture, one would be advised to catch the Leverett House production of A Man For All Seasons while one still can.