Yes, I know some of you will be asking what I mean by the title as you know the series as ‘Henry VIII and his six wives’ but I am going by the title on the screen.
So, this is a new venture for me as a reviewer, I’ve never really been the type to look at ‘historical documentaries’ as something to review but, when I asked what you would like to see several of you suggested I attempt a review for this series.
The review will take a look at the series as a whole before looking deeper at both the presenters and the actors.
The Series:
Now, the clear answer is that these four episodes are well designed to catch your attention, which they do wonderfully. The presenting is as lively and passionate as you would expect coming from Dan Jones and Suzannah Lipscomb. The acting, when we do indeed see or hear it, is perfectly played to keep your attention without slipping into melodrama. Well worth a watch.
The Presenters:
Now, obviously I’m never going to have a problem with how Suzannah presents a programme, for one, I watch enough of them to have grown used to certain mannerisms and, if I’m honest, I’ve begun to recognize them as a sign of passionate presenting, Suzannah cares deeply that we understand the history and presents naturally.
Dan Jones is someone I hadn’t seen much of before, but as with Suzannah, his presenting is natural, confident and his passion for the subject at hand is clear when he speaks. His way of placing history not just in terms of dates but in who was who and in keeping it all clear is skilful and a joy to watch. Dan too, it seems, cares that we, his audience, understand the history behind what happened as well as the events that it all lead to.
The Actors:
Firstly let me take a look at Toby Osmond in a rather unpleasant role but who plays it perfectly. Yes, he plays Cromwell, but, for possibly the first time that I’ve settled to watch a dramatized documentary, we don’t get a hammy, melodramatic performance. Toby skilfully lets us see Cromwell as he is believed to have been and, much as we may still not like the man, it is very hard not to feel at least a little pity in how he meets his end.
Moving on into ‘The Henrys’. Now, I’ve been given three names, one of whom I suspect may be using two twitters, I may, of course be wrong. Still I will use the ones I know are nearly definitely correct. First we have Charlie Clements who plays a ‘young, virile’ Henry beautifully. His anger is a clear lead for what will follow and yet there is something of the softer, kinder Henry who was beginning to be moulded into the man we all know him to be. Charlie’s biggest strength is the way he tends to play Henry quietly, steadily enough that when he is driven to anger, we as an audience do flinch with the wife who no doubt caused the anger. After we see the end of Henry’s third wife, Jane Seymour, we see Henry change as does the actor who plays him. The Henry we see now is perhaps older and wiser but also quicker to respond in anger. This Henry, known as ‘the tyrant’ that we usually see in plays and in some of the historical novels and indeed in most history books, is played to perfection by David Broughton-Davies. Now, David plays Henry mostly as angry, as is described by the events of his later life, but, when he does soften, we are able to see the true genius in the way he has played him, the quick anger and raw reactions of a hurting man soften at the edges and, with the way he is played here, we are still able to see at least a glimpse of Henry’s softer side, the side that wants, so badly, to believe that his wife does not mean him harm and does, truly, care first for him, even over her own needs.
And so, we come to the wives:
Catherine Of Aragon, who we always tend to see only slightly in most historical dramas or historical documentaries is given room to breathe and grow here, we meet her as a young woman, married to Henry’s older brother, and then, after a time of waiting, to Henry. She is skilfully played by Marta Hermida. There is enough of Catherine’s raw passion and dignity there that we can believe every word she says, even when they might not be truly accurate. Her anger, and fear and pain is well played, clear but not enough to be overdone.
Next we see Anne Boleyn, played with great skill by Harriet Green. Yes, this Anne is passionate, playful and quite clearly a tease but the ability to connect so plainly with Anne here is one that does not always happen. Harriet’s honesty in ‘living the role’ (which, I truly believe she does), allows us to feel a little more sorrow for Anne than we might in another’s hands. Harriet’s Anne is still gentle, and kind, and able to flirt without seeming cruel. It is rare that an actress can move me to tears in a ‘documentary drama snippet’ as some call these. Harriet not only managed to get into the role and open it to keep Anne’s emotions at the forefront, as well as show Anne’s schemes, she also manages to make you feel for Anne.
After Anne, of course, comes Jane Seymour. This Jane is played by Lucy Telleck and, for potentially the first time, we see why Henry may have considered her ‘the true wife’. I know some don’t see her that way, and that is allowed, but allow me to explain what my point is. Lucy’s Jane is played softly, with great care and allows us to see a woman who may be meek and quiet but will fight for what really matters. There is a delicate nature to each scene that opens the emotions of the character enough that we can get a read on them, without being too clear. Jane, as we see her here, is radiantly joyful with her young son, although of course, nature is ever cruel. Lucy’s Jane is a masterclass in balancing emotion with a ‘Queenly’ calm.
We see, after a long break in which Henry of course grows colder, his marriage to Anne of Cleves. Now, we do not hear much of Anne’s voice, but her calmness and serenity is well played by Kay Dent. We can believe that Anne, although no doubt unable to understand the English of the court and un-knowingly in a loveless marriage, is not dim or boring. Anne seems often cruelly overlooked and yet, with Kay’s Anne Of Cleves, we get glimpses of a woman we know little about, who knows when she can no longer stay in a marriage and will surrender peacefully to keep her life. There is a softness to Kay’s Anne that comes through even when not speaking. It is rare for an actress to have a skill that portrays character without words, but without a doubt, Kay has done exactly that.
Fifth wife, and, seemingly tellingly, is Catherine Howard, played with sensitivity by Elena Valentine. Yes, this girl is a flirt, and a tease, and openly willing to play games with men, but the love and lust for Henry comes through without words and, when we do see Catherine’s downfall, there is a delicate sense of fragility that is not ruined by Catherine’s tears, rather enhanced by them. Elena gives us a Catherine who may have been to bed with other men but seems, at least in what we see, to truly long for forgiveness. The acceptance of her fate is played with great skill, opening you to care for a woman who most playwrights, and indeed some historians, would have you think very little of.
Finally, and perhaps fittingly, we come to Katherine Parr. Now, Katherine is often overlooked by historians, novelists and playwrights, but the woman we see here is brave, intelligent and clearly both caring and careful of her husband. Katherine Parr, as we see her here is played by Kate Holderness. We don’t just see Katherine Parr, the woman who loves another man and longs for him. We see a scholar, a religious woman who is willing to put aside her faith, in fact, deny it, that she might live. We also see a woman who so believes in her god she is willing to do what she believes he wishes, setting aside the man she loves dearly to marry a king who she may, in time, be able to turn back to what he had started, the freeing of the English church from Rome. We are given time with Katherine as we are with the others, but somehow, the little we get from the scenes is enhanced by the skill with which both Katherine and Henry are played. We can believe Katherine’s fear of her husband, and we can believe that, perhaps, somehow, they have grown to care for each other. It is a careful portrayal of Katherine, but it is fearless, trusting you to believe the truth of the words and giving you just enough to find the woman behind the history.
In finishing, I give you simply this, a link to the programme: https://www.my5.tv/henry-viii-and-his-six-wives/season-1
Finally, I leave you with this thought: If there is one thing that will inspire you to think more of the wives, and indeed of Henry, I do truly think this is the programme to do it. The acting is skillful, the presenting is passionate and the history is clearly researched and wonderfully placed into real places and dates.
I hope you enjoy the programme as much as I have.
So, this is a new venture for me as a reviewer, I’ve never really been the type to look at ‘historical documentaries’ as something to review but, when I asked what you would like to see several of you suggested I attempt a review for this series.
The review will take a look at the series as a whole before looking deeper at both the presenters and the actors.
The Series:
Now, the clear answer is that these four episodes are well designed to catch your attention, which they do wonderfully. The presenting is as lively and passionate as you would expect coming from Dan Jones and Suzannah Lipscomb. The acting, when we do indeed see or hear it, is perfectly played to keep your attention without slipping into melodrama. Well worth a watch.
The Presenters:
Now, obviously I’m never going to have a problem with how Suzannah presents a programme, for one, I watch enough of them to have grown used to certain mannerisms and, if I’m honest, I’ve begun to recognize them as a sign of passionate presenting, Suzannah cares deeply that we understand the history and presents naturally.
Dan Jones is someone I hadn’t seen much of before, but as with Suzannah, his presenting is natural, confident and his passion for the subject at hand is clear when he speaks. His way of placing history not just in terms of dates but in who was who and in keeping it all clear is skilful and a joy to watch. Dan too, it seems, cares that we, his audience, understand the history behind what happened as well as the events that it all lead to.
The Actors:
Firstly let me take a look at Toby Osmond in a rather unpleasant role but who plays it perfectly. Yes, he plays Cromwell, but, for possibly the first time that I’ve settled to watch a dramatized documentary, we don’t get a hammy, melodramatic performance. Toby skilfully lets us see Cromwell as he is believed to have been and, much as we may still not like the man, it is very hard not to feel at least a little pity in how he meets his end.
Moving on into ‘The Henrys’. Now, I’ve been given three names, one of whom I suspect may be using two twitters, I may, of course be wrong. Still I will use the ones I know are nearly definitely correct. First we have Charlie Clements who plays a ‘young, virile’ Henry beautifully. His anger is a clear lead for what will follow and yet there is something of the softer, kinder Henry who was beginning to be moulded into the man we all know him to be. Charlie’s biggest strength is the way he tends to play Henry quietly, steadily enough that when he is driven to anger, we as an audience do flinch with the wife who no doubt caused the anger. After we see the end of Henry’s third wife, Jane Seymour, we see Henry change as does the actor who plays him. The Henry we see now is perhaps older and wiser but also quicker to respond in anger. This Henry, known as ‘the tyrant’ that we usually see in plays and in some of the historical novels and indeed in most history books, is played to perfection by David Broughton-Davies. Now, David plays Henry mostly as angry, as is described by the events of his later life, but, when he does soften, we are able to see the true genius in the way he has played him, the quick anger and raw reactions of a hurting man soften at the edges and, with the way he is played here, we are still able to see at least a glimpse of Henry’s softer side, the side that wants, so badly, to believe that his wife does not mean him harm and does, truly, care first for him, even over her own needs.
And so, we come to the wives:
Catherine Of Aragon, who we always tend to see only slightly in most historical dramas or historical documentaries is given room to breathe and grow here, we meet her as a young woman, married to Henry’s older brother, and then, after a time of waiting, to Henry. She is skilfully played by Marta Hermida. There is enough of Catherine’s raw passion and dignity there that we can believe every word she says, even when they might not be truly accurate. Her anger, and fear and pain is well played, clear but not enough to be overdone.
Next we see Anne Boleyn, played with great skill by Harriet Green. Yes, this Anne is passionate, playful and quite clearly a tease but the ability to connect so plainly with Anne here is one that does not always happen. Harriet’s honesty in ‘living the role’ (which, I truly believe she does), allows us to feel a little more sorrow for Anne than we might in another’s hands. Harriet’s Anne is still gentle, and kind, and able to flirt without seeming cruel. It is rare that an actress can move me to tears in a ‘documentary drama snippet’ as some call these. Harriet not only managed to get into the role and open it to keep Anne’s emotions at the forefront, as well as show Anne’s schemes, she also manages to make you feel for Anne.
After Anne, of course, comes Jane Seymour. This Jane is played by Lucy Telleck and, for potentially the first time, we see why Henry may have considered her ‘the true wife’. I know some don’t see her that way, and that is allowed, but allow me to explain what my point is. Lucy’s Jane is played softly, with great care and allows us to see a woman who may be meek and quiet but will fight for what really matters. There is a delicate nature to each scene that opens the emotions of the character enough that we can get a read on them, without being too clear. Jane, as we see her here, is radiantly joyful with her young son, although of course, nature is ever cruel. Lucy’s Jane is a masterclass in balancing emotion with a ‘Queenly’ calm.
We see, after a long break in which Henry of course grows colder, his marriage to Anne of Cleves. Now, we do not hear much of Anne’s voice, but her calmness and serenity is well played by Kay Dent. We can believe that Anne, although no doubt unable to understand the English of the court and un-knowingly in a loveless marriage, is not dim or boring. Anne seems often cruelly overlooked and yet, with Kay’s Anne Of Cleves, we get glimpses of a woman we know little about, who knows when she can no longer stay in a marriage and will surrender peacefully to keep her life. There is a softness to Kay’s Anne that comes through even when not speaking. It is rare for an actress to have a skill that portrays character without words, but without a doubt, Kay has done exactly that.
Fifth wife, and, seemingly tellingly, is Catherine Howard, played with sensitivity by Elena Valentine. Yes, this girl is a flirt, and a tease, and openly willing to play games with men, but the love and lust for Henry comes through without words and, when we do see Catherine’s downfall, there is a delicate sense of fragility that is not ruined by Catherine’s tears, rather enhanced by them. Elena gives us a Catherine who may have been to bed with other men but seems, at least in what we see, to truly long for forgiveness. The acceptance of her fate is played with great skill, opening you to care for a woman who most playwrights, and indeed some historians, would have you think very little of.
Finally, and perhaps fittingly, we come to Katherine Parr. Now, Katherine is often overlooked by historians, novelists and playwrights, but the woman we see here is brave, intelligent and clearly both caring and careful of her husband. Katherine Parr, as we see her here is played by Kate Holderness. We don’t just see Katherine Parr, the woman who loves another man and longs for him. We see a scholar, a religious woman who is willing to put aside her faith, in fact, deny it, that she might live. We also see a woman who so believes in her god she is willing to do what she believes he wishes, setting aside the man she loves dearly to marry a king who she may, in time, be able to turn back to what he had started, the freeing of the English church from Rome. We are given time with Katherine as we are with the others, but somehow, the little we get from the scenes is enhanced by the skill with which both Katherine and Henry are played. We can believe Katherine’s fear of her husband, and we can believe that, perhaps, somehow, they have grown to care for each other. It is a careful portrayal of Katherine, but it is fearless, trusting you to believe the truth of the words and giving you just enough to find the woman behind the history.
In finishing, I give you simply this, a link to the programme: https://www.my5.tv/henry-viii-and-his-six-wives/season-1
Finally, I leave you with this thought: If there is one thing that will inspire you to think more of the wives, and indeed of Henry, I do truly think this is the programme to do it. The acting is skillful, the presenting is passionate and the history is clearly researched and wonderfully placed into real places and dates.
I hope you enjoy the programme as much as I have.