More exhibition than theatre, Anne Boleyn the Musical is a fun outing for English history buffs who aren’t too rigid about historical nuance or anachronism and who don’t expect to be humming the anthem on the way home. If, however, you fancy an excuse to see Hever Castle and manage to strike it lucky with the weather in the Kent Countryside (thankfully, we did), this production – which is stronger on spectacle than dramatic power – can be a diverting daytrip from London. Tickets are pricey, even before you factor in refreshments on location (although do try the pulled pork from Dass Catering at the lakeside if you’ve got deep pockets), so I reckon the target market is indulgent grandparents looking for something wholesome to share with their tweens of the second generation or a ‘special event’ for your visiting relatives this summer.
Roxanna Silbert makes good use of the staging opportunities with the full width of the 1800-seat auditorium and backdrop of the castles and grounds, which affords the pleasure of spotting an approaching King Henry VIII (Mark Goldthorp) on horseback (yes, a real horse!). The horses are fun but never get too close to the stage so there is a sort of long-shot cinematic quality to their presence as the background approaches rather than a sense of intensity. The set itself is simple and modular but on-point with the motifs of the real castle’s interior. However, liberties are taken with the arrival of rubber balloons (not invented until the 19th century) and a clumsy rhyme about muskets (not invented until the 16th century) without fully leaning into Hamilton-style deliberate anachronism. Intellectually, it is a bit of a stretch to depict Anne Boleyn (Emily Lane) as a feminist heroine, campaigning – Evita-style – for the poor in the 2 years and 11 months she reigned as queen. But this show isn’t aimed at the critically-minded, it is about creating an event at a historic site, and on those terms it succeeds.
None of the music, composed by Sam Gevers with lyrics by author Rebecca Night and Sam Kenyon, is memorable – in fact it’s so derivative that one finds oneself trying to guess which musical each song more or less mosaically plagiarises – my son spotted The Legend of Zelda soundtrack in a near note-for-note ‘homage’ to great amusement. The voices are all serviceable and, in some cases, excellent, but the choice to use biaural headphones to pipe in a pre-recorded score by the City of Prague Philharmonic created a sense of isolation rather than collective engagement. With blue glowing silent disco lights in the audience, it made the show feel all the more like a museum documentary rather than a shared act of theatrical joy – which was a shame. Although you could hear subtler sounds through the headsets, it leaned into a kind of ‘close-up’ radio whispering that clashed with the potential opportunities available thanks to the scale of such an impressive space and the size of the cast. I couldn’t help but wonder if this was a budgetary choice rather than a creative one – surely it is possible to have live symphonic music outside, as done at Kenwood and Glyndebourne and make the experience all the richer for it.
The second act became pacier – perhaps having finally established the exposition and marching towards a death foretold. You will have to have a high tolerance for pseudo-Disney cheese in your music and a willingness to suspend a certain amount of historical disbelief to really feel transported by this show, but if you can, there is a glorious visual tableau to behold in some of the most stunning scenery in England.
Review by Mary Beer
Anne says farewell to her family and embarks on a life-changing journey to the royal courts of Flanders and France. Though her goodbyes are difficult, Anne’s adventure will shape not only her future but the future of England itself…
Anne Boleyn the Musical explores the transformation from a young girl leaving England, into a young woman who returns to Hever Castle, destined to attract a King. The rise and fall of their relationship forever altered the course of history.
Celebrated as one of history’s most intriguing and influential women, Anne’s true nature, her ambitions, and her generosity will finally be revealed—within the very walls where her mind was shaped and her legacy forged.
Dona Atallah – Queen Claude / Princess Mary / Elizabeth I / Lady in Waiting
Matt Bond – Cromwell / Erasmus / Chorus
Mark Goldthorp – King Henry
Clive Hayward – Thomas Boleyn / Cardinal Wolsey / Monk / Chorus
Kim Ismay – Joan / Mrs Askyne / Chorus
Emily Lane – Anne Boleyn
Rebecca Luter – Jane Seymour / Lady in Waiting / Solo Woman / Swing
Joshua Oakes-Rogers – George Boleyn / Monk / Chorus
Noah Sinigaglia – Queen Katherine / Queen Margaret / Chorus
Chomba S. Taulo – Harry Percy / Matthew Parker / Bishop Fisher / Chorus
Jay Worley – Monk / Solo Man / Messenger / Swing
Betsy Godden / Annabelle Jones – Young Anne
Arthur Mofat / Dawson Richards – Young George
Author and Co-lyricist – Rebecca Night
Co-lyricist – Sam Kenyon
Composer – Sam Gevers
Director – Roxana Silbert
Set and Costume Designer – Robert Innes-Hopkins
Lighting Designer – Michel Jacobs
Sound Designer – The Ringham Brothers
Choreographer – Alistair David
Music Supervisor – Matthew Malone
Casting Director – Debbie O’Brien
ANNE BOLEYN: THE MUSICAL
Hever Castle
2 to 30 August 2025
