Adrian Bhagat went to see Anne Boleyn at the Lace Market Theatre

Anne Boleyn, by Howard Brenton was originally commissioned to be performed at Shakespeare's Globe in 2010. It presents a radically new image of the second wife to Henry VIII. For those of us who only got a comprehensive education, here's a quick history lesson scraped from Wikipedia: Henry VIII was married to Catherine of Aragon, the widow of his brother but, as she did not bear him a son, he wanted to divorce her and marry his mistress, Anne Boleyn. As the Pope wasn't willing to grant the divorce, Henry married Anne (who was later beheaded for adultery and treason) and, encouraged by the writings of William Tyndale which stressed the primacy of kings over the papacy, initiated the Reformation, splitting the Church of England from Rome and making England into a Protestant country. This led to the dissolution of the monasteries and much turmoil until, later, James I produced the King James Bible to settle theological disputes and bring stability. Phew.

The play begins with some period dancing, which is obligatory for historical plays but does give you a chance to enjoy the Renaissance music. Impressively for a tiny theatre, this is performed live on a virginals (no sniggering, it's a sort of harpsichord thing). Although the play is presented in traditional dress, the language is decidedly modern, colloquial and even coarse at times. There's a lot of ribald humour including a discussion of Tudor contraceptive devices which gives flavour to the historical narrative.

Although Anne Boleyn was regarded by some in her time as a 'whore and a witch', she is known to have been a forceful, opinionated political operator. Brenton takes this further, making her the prime mover behind the Reformation and, consequently, a very significant figure in this country's history. Whether or not this revisionist portrayal carries any weight with historians, Kareena Sims does it justice with her excellent performance in the lead role, depicting Anne as having both seductive charm and deep religious conviction.

She's supported by a strong cast. Piotr Wisniewski was perhaps born to play the machinating Cardinal Wolsey. Jason Wrightam is excellent as the dark, scheming statesman Thomas Cromwell, whose spies and plots kept the court in a state of fear. Chris Ireson's beard plays the role of Henry VIII's beard with aplomb; the man behind it was also convincing as the larger than life king.

The play's scenes split between Henry and Anne's life and the reign of James I, who is shown attempting to uncover Boleyn's life and find her ghost, drawing religious inspiration from her as he tries on her dresses. Played by Gordon Cullen, James I is portrayed as a strange mixture of feckless teenager and theosophical thinker, dealing with religious leaders petulantly at one moment and dispensing wisdom the next.

With a cast of nearly thirty in full period dress accompanied by live music, this is a lavish and ambitious production for an amateur theatre, though a little let down by an unambitious set. It took me a while to warm to the play whose peculiarity I found disconcerting at first. However, it wasn't long before the intrigues and politics grabbed my interest, delivering a compelling evening of theatre.

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ANNE BOLEYN at The Lace Market Theatre, Nottingham

Oh if only I'd had paid more attention in my history lessons at school! Did they really behave like that?

It's like Carry On Vs Yes Minister with it's very saucy language and "nudge nudge wink wink" raised eyebrowed style of acting, mixed in with a generous dollop of political skullduggery, but oh what an enjoyable slice of history twas laid before a packed theatre tonight!

We start off with King James 1, played by Gordon Cullen, who cornered the market tonight for the "nudge nudge" naughty schoolboy, ever so slightly rude King who enjoyed dressing up in Anne's dresses (this received a wolf whistle from the audience), who also managed to talk to the ghost of Anne which drew us back in time to the story of Anne Boleyn.

Anne was played by Kareena Sims, very saucy and what a tramp! A woman who knew how to play her man and to get what she wanted, when she wanted it, even teasing the audience at the start by... well you'll have to see how!

Chris Ireson did a wonderful job as King Henry 8th, really bringing the King down to a "common level" if you like, someone we could relate to as a person.

These three main characters, albeit having great comic sides, also were revealed to have a more sensitive side which all three actors managed to produce well. Not that easy to turn an audience's feelings around from laughing at a character to feel sorry for them and their fate.

There's always a baddie in any play and Jason Wrightam gets to exercise his nastiness playing Thomas Cromwell, a real nasty piece of work.

It's a fairly large cast which all fit in well with each other's characters and interact well with the various roles. There's a great camaraderie comes through which makes this serious historic era more human.

The costumes for the period were wonderful and a special mention for Barry Holland who I know has spent almost every waking hour sewing and creating the marvellous costumes on that stage.

There are probably loads more I could say about Anne Boleyn, like the live period music which really set the tone and the atmosphere for the play, the dramatic opening with guillotine-esque sound effect and blackout but to get the full Boleyn experience pop down to the Lace Market Theatre and see what I'm talking about.

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Review: Anne Boleyn, Lace Market Theatre

Howard Brenton is still remembered for the notoriety of his eighties play The Romans in Britain, which was prosecuted by Mary Whitehouse. His 2010 play Anne Boleyn won’t be, and not just because Whitehouse is dead; it’s an altogether less controversial piece.

Shifting back and forth between 1603 (when we see Anne’s ghost) and the 1530s, it tells the story of her relationship with and marriage to Henry VIII and her subsequent execution. It’s suggested that Anne was a crucial influence during the break with Rome and the establishment of the Church of England. Later on she was an, albeit, more indirect influence on the production of the King James Bible.

Brenton’s text is compelling. It’s vigorous and authentic sounding but with sudden and somewhat bizarre, deliberately jarring, slides into modern profanity which are often comical. And at times some of the characters step aside from the action to confide in the audience.

A large cast offers plenty of scope for the actor; luckily Director Gordon Parsons ensures that it’s well filled. Kareena Sims has another triumph in the title role. She makes Anne variously girlish, commanding, mischievous, coquettish and much more. When, in a leggily intimate situation with Henry, she winks at the audience and announces the interval she’s also very funny.

Chris Ireson is a perfect fit for Henry VIII. He brings out the coarseness and vigour of the man, and, rightly, makes him actually sympathetic, even in a sense pathetic. He and Anne have some splendid scenes together.

Gordon Cullen’s performance as James I is accomplished. He’s not only camp, scatological, physically awkward and turned on by women’s frocks, which is what we think we know about the historical figure. He’s also shrewd and a seeker after religious compromise. His scenes at the ecclesiastical conference and at the play’s end are some of the best of the evening.

Jason Wrightam, Piotr Wisniewski, who also has an unspecified but not unexpected input into the music, and David Pain lend distinction to the parts of Thomas Cromwell, Cardinal Wolsey and Lancelot Andrewes respectively.

Costumes are period Tudor and Jacobean, and attractive with it. It’s a serviceable wood-panelled set. The outstanding background music, also period, is supplied by Helen Buxton and Steve Buxton using a range of authentic instruments – virginal, viola da gamba, recorder, bassoon and flute. There’s also choreographed dance.

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