Review – A Man for All Seasons – Theatre Royal Brighton 

Robert Bolt’s A Man for All Seasons has long been hailed as a powerful exploration of conscience, conviction, and the perils of political compromise. In this compelling stage revival, starring the simply superb Martin Shaw as Sir Thomas More, the production simultaneously reaches heights of emotion and philosophical depth. 

The play, set in the turbulent period of King Henry VIII’s reign, centres on Sir Thomas More, the Lord Chancellor of England, who refuses to endorse the king’s separation from the Catholic Church and his subsequent marriage to Anne Boleyn. More’s steadfast commitment to his principles ultimately leads to his downfall, and the play follows his dignified resistance in the face of political pressure and personal peril. 

Martin Shaw, known for his commanding presence and rich voice, inhabits the role of More with quiet authority and moral clarity. His More is not a sanctimonious figure, but a deeply human one-witty, compassionate, and fully aware of the cost of his choices. Shaw’s interpretation offers a sensitive portrayal of a man who understands the machinery of power but refuses to be crushed by it. Every line he delivers carries weight, through the calm assurance of a man who believes, profoundly, in the rule of law and the sanctity of the individual conscience. 

What makes this production particularly striking is Shaw’s ability to communicate inner turmoil without ever compromising the character’s sense of purpose. In quieter scenes, whether with his devoted wife Alice or the scheming Thomas Cromwell, Shaw allows flickers of doubt, fear, and regret to surface, adding layers of complexity to the role. His More is not fearless, but brave in the truest sense: aware of the dangers yet unwilling to betray himself. 

Gary Wilmot excels as The Common Man, effortlessly shifting between various roles with charm and wit. With just a change of hat, he appears as a new character and brings a refreshing dose of comedy to the production, highlighting the play’s themes of morality and human frailty with both humour and depth. A standout performance. 

The supporting cast rises admirably to the task with, Edward Bennett, as Thomas Cromwell, bringing a slick, calculated menace to the role. The Duke of Norfolk, More’s old friend turned reluctant adversary, is portrayed by Timothy Watson with a gruff sorrow that highlights the personal cost of political expedience. The young Richard Rich (Calum Finlay) is chilling in his transformation from ambitious underling to betrayer, and the final courtroom scene between him and More is loaded with dramatic tension. 

Direction is tight and the staging is simple but effective, with period costumes and sparse sets that allow the text and performances to shine. Particularly effective is the use of lighting to underscore More’s increasing isolation. What makes this production truly exceptional, however, is that, in an age where public figures often compromise principles for power, Sir Thomas More stands as a reminder of the value, and cost, of integrity. The questions Bolt posed in the 1960s about personal conscience versus state authority remain pressing today, and this revival feels less like a historical drama and more like a living dialogue of our own time. 

In the final moments, as More meets his fate with quiet dignity, there’s a profound sense of loss, but also of triumph. The play ends not in despair, but in a reaffirmation of what it means to hold fast to one’s beliefs, even when the world demands surrender. Martin Shaw positively shines throughout, giving a masterclass in moral integrity. He brings humanity and clarity to a role that demands both. This version of A Man for All Seasons is a stunning piece of theatre. 

***** Five Stars