What I liked
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What I didn't like
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My overall impression
For a king determined to have a male heir, it’s ironic that Henry VIII is primarily known for his six wives. His legacy did not live on with his only son, Edward II, but with Elizabeth I – and with her not providing an heir that’s also where the Tudor reign ends. The play is set in purgatory (or something like it as Protestants don’t believe in purgatory), Henry (James Cougar Canfield) must face each of his wives who have defined his reign.
Although this play is all about Henry, it is the women who shine in this production. Canfield has written dynamic women here whose own histories have been reduced to “divorced, beheaded, died, divorced, beheaded, survived.” As the titular role, Canfield presents Henry as crass, arrogant and stubborn – it’s difficult to believe that any of these women truly loved him. That being said, there is a tender moment between him and Jane Seymour (Laryssa Schoeck), arguably the one he loved the most. Wendy K. Skuse shines as the manipulative Anne Boleyn who delights in telling Henry that his legacy was not with his sickly son Edward but in their daughter Elizabeth. Hilary Kelman as first and longest wedded wife Catherine of Aragon also excels as a woman trapped by politics. Her warrior spirit made him insecure and he punished her for it. “I am a woman,” she says, “and I will never ask for forgiveness for that.” A feminist mantra for us all.
Overall, this a compelling production despite Henry being a frustrating protagonist. For those who are history buffs, this is an interesting way to present Henry VIII’s reign. If you’re not as familiar with the period, you might find it difficult to track as the wives don’t confront him in chronological order, however the performances by the women will keep you invested.
