The Other Boleyn Girl E-Book

Gregory Philippa

• Herausgeber: Nick Hern Books
• Kategorie: Poesie und Drama
• Serie: NHB Modern Plays
• Sprache: Englisch

Seitenzahl: 118

Veröffentlichungsjahr: 2024

Beschreibung

Henry VIII's court is a stage for love and treachery, where the weapons of choice are sex, marriage – and the executioner's axe. As Henry's mistress, Mary Boleyn is a pawn in her family's lust for power. Queen Katherine of Aragon hasn't produced a male heir, and Mary's ruthless uncle scents the chance of putting his niece on the throne. But Henry's wandering eye has fallen on another: Mary's headstrong sister, Anne, whose ambition not only threatens to destroy her bond with Mary, but shakes the foundations of Church and State. Based on Philippa Gregory's internationally bestselling novel, The Other Boleyn Girl is a brilliant evocation of intrigue at the Tudor court – a racy and riveting drama of events that changed the course of English history. This stage adaptation by Mike Poulton was premiered at Chichester Festival Theatre in 2024, directed by Lucy Bailey.

Leseprobe

Mike Poulton

THE OTHER BOLEYN GIRL

based on the novel by

Philippa Gregory

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

CONTENTS

Introduction

Original Production Details

Characters

The Other Boleyn Girl

About the Authors

Copyright and Performing Rights Information

IntroductionMike Poulton, adapter

After my two previous excursions into the Court of Henry VIII, I imagined my long interview with the narcissistic, thin-skinned, would-be dictator was over. And then I discovered Philippa Gregory’s compelling story of Mary Boleyn and was drawn into the behind-the-scenes world of powerful women, denied a political role but ambitious to influence or steer the overloaded ship of state. Before Philippa, nobody had really paid much attention to Mary Boleyn. Some were aware she was Henry’s mistress and that he named a ship after her, but most historians, and writers of fiction, regarded her as a footnote, or an introductory chapter in a biography of her centre-stage sister, Anne.

Mary was far more than that. As a young girl she was used and abused by her family. Obediently she was made to respond to the King’s sexual advances. She has a daughter, and then a son by him, whom she deeply loves. But she has no voice – no control over their lives, or her own.

And then she breaks free. She becomes her own woman, escapes the Court life she has come to despise, falls in love with, and marries a man nine years her junior and lives happily ever after. How could I not want to write a play about her?

This play has a double focus. In close-up it’s a chamber piece about the ruthless ambition of the Boleyn/Howard family, headed by Lady Elizabeth Boleyn and her brother. Pull back the focus, and under the spotlight is King Henry VIII himself. The game is to get as close to Henry as possible because the nearer one gets, the firmer one’s grip on the levers of power. But, as the poet Thomas Wyatt wrote: ‘Circa Regna Tonat – around the throne the thunder rolls.’ The game is a dangerous one that often proves fatal.

The stage itself is the Court, centred on displays of wealth, pleasure, and extravagant show. The way the King moves, his clothes, armour, jewels, his stance, his music and dancing, his conspicuous consumption, are all designed to impress the rival monarchs of Europe, particularly the Emperor and the King of France. Or is it all to boost the confidence of Henry himself? The truth is he’s not the big strong man he pretends to be. On the contrary, he is a fearful welter of anxiety and doubt. He knows many of his subjects have better claims than his to England’s throne. His father, from illegitimate stock himself, had no real claim to it at all. Is God on Henry’s side? Or is God his enemy? Is the King’s inability to father a legitimate male heir God’s punishment for his manifold sins and wickedness? Time is running out for him. The music and dance that define his Court are rapidly becoming a Dance of Death. And still his courtiers, like moths to the flame, drive themselves on – closer and closer to the seat of power.

I wanted to focus the play’s action on the three Boleyn children – Mary, Anne and George, and their partners and lovers, in order to create a family drama in a Court setting. The characters Philippa created were all eager to step out of the pages of her book and get themselves onstage. The very least I could do was point them in the right direction.

It’s interesting to note that our King Charles III is not descended from Henry VIII. He is, however, through his grandmother, a direct descendent of Mary Boleyn.

April 2024

The Other Boleyn Girl was first performed at Chichester Festival Theatre on 19 April 2024. The cast (in order of speaking) was as follows:

MARY BOLEYN

Lucy Phelps

ANNE BOLEYN

Freya Mavor

GEORGE BOLEYN

James Corrigan

FRANCIS WESTON

Peter Losasso

WILLIAM CAREY/EDWARD SEYMOUR

Jacob Ifan

HARRY PERCY/TOM SEYMOUR

Osa Audu

JANE PARKER, later JANE BOLEYN

Lily Nichol

QUEEN KATHERINE OF ARAGON/MIDWIFE

Kemi-Bo Jacobs

WILLIAM STAFFORD

Oscar Batterham

THOMAS HOWARD, DUKE OF NORFOLK

Andrew Woodall

LADY ELIZABETH BOLEYN

Alex Kingston

THOMAS BOLEYN

Ben Jones

CARDINAL WOLSEY/THOMAS CROMWELL

Roger Ringrose

MARK SMEATON

Nitai Levi

JANE SEYMOUR/SERVING WOMAN

Rosalind Lailey

KING HENRY VIII

James Atherton

MUSICIAN

Chris Green

MUSICIAN

Sarah Harrison

Director

Lucy Bailey

Designer

Joanna Parker

Lighting Designer

Chris Davey

Composer

Orlando Gough

Sound Designer

Beth Duke

Video Designer

Dick Straker

Movement Director

Ayse Tashkiran

Fight Director

Kate Waters

Wigs, Hair & Make-Up Designer

Susanna Peretz

Musical Director

Chris Green

Casting Director

Ginny Schiller CDG

Voice and Dialect Coach

Edda Sharpe

Assistant Director

Lata Nobes

Production Manager

Kate West

Costume Supervisor

Caroline Hughes

Props Supervisor

Sharon Foley

Company Stage Manager

Rebecca James

Deputy Stage Manager

Olivia Roberts

Assistant Stage Managers

Isobel Eagle-Wilsher Daisy Jones

Characters

ANNE BOLEYN

MARY BOLEYN

GEORGE BOLEYN

FRANCIS WESTON

WILLIAM CAREY

KING HENRY

QUEEN KATHERINE

CARDINAL WOLSEY

HARRY PERCY

THOMAS HOWARD, DUKE OF NORFOLK

WILLIAM STAFFORD

THOMAS BOLEYN

LADY ELIZABETH HOWARD

JANE PARKER later BOLEYN

JANE SEYMOUR

MIDWIFE

TOM SEYMOUR

EDWARD SEYMOUR

And SERVANTS, a PAGE, MAIDS, BISHOPS, PRIESTS, LADIES, ATTENDANTS, GUARDS, GENTLEMEN, PLAGUE DOCTORS, NURSES, COURTIERS, MUSICIANS, DANCERS, an EXECUTIONER

This ebook was created before the end of rehearsals and so may differ slightly from the play as performed.

Prologue

In front of a fire, a wooden tub. ANNE BOLEYN, MARY BOLEYN and GEORGE BOLEYN in the tub. Tetchiness. MARY combs ANNE’s hair. SERVANTS, and GEORGE’s PAGE waiting.

MARY. Harry Percy?

ANNE. He begged… I said ‘No, Harry – no – no!’ He wept – he pleaded… Don’t pull!… He rubbed himself against me. I said ‘Stop – you mustn’t – I can’t!’ So he swore he’d marry me… Gave his word.

GEORGE. His word means nothing – he’s just a boy –

MARY. Keep still.

ANNE. Mary! That hurts! Take the comb, George –

GEORGE (ignoring this). You’re mad, Anne – Harry Percy? Harry can’t choose a wife for himself –

ANNE. He’s chosen me.

GEORGE. Before witnesses?

ANNE. Love was our witness.

GEORGE gets out of the tub.

GEORGE. Jesu! Give me a towel.

His PAGE hands him a bath sheet and helps him dress.

MARY. Harry’s going to marry Mary Talbot – he was betrothed to her at fourteen years old –

ANNE. Against his will –

GEORGE. He has no say in the matter – he’s an earl’s son – she’s an earl’s daughter – you’re nobody.

ANNE. Father married a Howard. Why shouldn’t I marry a Percy?

MARY. Father will fly into a rage when he finds out what you’re doing –

ANNE. What I’ve done.

GEORGE. When – if – Harry grows up, he’ll be sent north – to defend England against the Scots –

ANNE. With me at his side –

GEORGE. No – with Mary Talbot.

ANNE. Why!

GEORGE. Her wealth will pay for Harry’s soldiers. The King made the match – his word’s final.

ANNE. You’ll wheedle the King for me, won’t you, Mary?

MARY. I wouldn’t dare.

ANNE. Then what use are you? Anyway it’s done. Harry’s agreed to a formal betrothal. He’ll put a ring on my finger, and it will be strong as a marriage at the church door. You’ll be my witnesses. When they raise Harry to a dukedom I’ll be a duchess –

GEORGE. What world are you living in, sister? You’re a poor knight’s daughter. I must go to the King.

ANNE. Elizabeth Grey was a poor knight’s daughter – she married a king. You think I aim too high? Where I aim I hit. What I want I get. And I want Harry Percy – his lands, his money, his title… Most of all I want his power.

GEORGE. You’re a girl!

ANNE. And I’m more than a match for you, brother. (Indicating her head.) I was born to rule – something – somewhere. Imagine what I’ll accomplish when I have the mastery of him – Harry’s people – his lands –

MARY. Do you love him?

ANNE. Love? You’re such a child, Mary… I have and will hold Harry Percy – watch me.

GEORGE. The King will have the last word.

MARY. He always does.

ANNE. Fingernails!

MARY allows her fingernails to be examined. Enter FRANCIS WESTON.

There’s nothing disgusts a man more than dirt on a woman.

MARY gets out of the bath; MAIDS wrap her in towels.

FRANCIS. Lady Mary. Your husband’s asking for you.

MARY. I can’t see him now. George – speak to William for me.

ANNE. Come to my rooms tomorrow – when everybody’s at Mass – be my witnesses.

GEORGE. No – leave me out of it.

ANNE. The family has everything to gain by this marriage – you’ll play your part.

PART ONE

Scene One

Music off, builds. Outside MARY’s chambers. GEORGE comes out with FRANCIS. WILLIAM CAREY is waiting.

CAREY. George. Francis.

GEORGE. Mary can’t see you, William – the King’s calling for her.

CAREY. Ah…

GEORGE. The King is the King. CAREY. I’m merely the husband.

GEORGE. Who benefits greatly from his wife’s position – CAREY. In another man’s bed.

GEORGE. The King’s bed. You agreed to it. CAREY. Not that I’d any say in the matter.

Enter MARY.

GEORGE. God be with you, brother-in-law.

FRANCIS. What’s happened?

GEORGE. Tell you later.

GEORGE hurries off.

MARY. Husband… This wasn’t my choice? I do as the family tells me.

CAREY. We do as we’re told. Like children.

He takes her hand and kisses it.

I thought after a month or two he’d tire of you, and you’d come back to me…

MARY. William –

CAREY. Go then… I love you. I’m sorry for you… Sorry…

Exit CAREY.

MARY is moved. Then she collects herself and exits with FRANCIS.

Scene Two

The whole Court at prayer. Mass in the royal chapel. BISHOPS and PRIESTS. KING HENRY, FRANCIS attending him, enters – goes to QUEEN KATHERINE. They kneel and pray.

A credo. KING HENRY’s entourage includes CARDINAL WOLSEY, HARRY PERCY, CAREY, THOMAS HOWARD, DUKE OF NORFOLK, WILLIAM STAFFORD attending NORFOLK, THOMAS BOLEYN, GEORGE. In QUEEN

KATHERINE’s entourage are LADY ELIZABETH HOWARD, JANE PARKER, MARY, other LADIES. GEORGE slips away to go to ANNE – exchanging looks with MARY. MARY supports QUEEN KATHERINE.

Scene Three

Music of the Mass, off – fading. Mary’s rooms. GEORGE and

ANNE. ANNE is placing a portable reredos and a crucifix on a table in the window.

ANNE. Where’s Mary?

GEORGE. Still at Mass. The Cardinal sent for Harry Percy. Looks as if you’ve been found out.

ANNE. No we haven’t.

GEORGE. They’ll not let you keep him. Accept it. The King would have his balls off. Then where would you be?

Enter MARY.

ANNE. He’ll risk anything for me. He loves me.

GEORGE. His father would disinherit him – you’d end up married to a pauper – no friends, no prospects, no life –

MARY. Up in the north – shivering in the cold and wet –

ANNE. Go to the door.

MARY. Nervous?

ANNE. No.

GEORGE. Then why are you trembling?

ANNE holds GEORGE.

ANNE. Oh George… I’m a fool to confess it… I am in a fever for his touch.

GEORGE (studying her – with sympathy). This won’t end well. By nightfall, we may be in the Tower –

ANNE. George…

GEORGE. But if you’re determined to go on with your folly…

ANNE. Brother…

She embraces GEORGE.

Exit GEORGE.

MARY. If it’s what you’ve set your heart on – I’ll pray it brings you happiness.

ANNE. You’re such a child, Mary.

The door opens. Re-enter GEORGE with HARRY PERCY.

Husband!

HARRY. Oh… I –

ANNE. The prospect pleases you?

HARRY. It terrifies me.

GEORGE. No going back?

HARRY (he produces a ring with a ruby in it). Rubies and diamonds. For virtue.

GEORGE. Ready to plight your troth before God? HARRY. I…

ANNE. My brother and sister will be witnesses. HARRY. Anne… Give me your hand.

ANNE does. They cross themselves and kiss the crucifix.

I, Henry, swear to take you, Anne, for my lawful wedded wife.

ANNE. I, Anne, will take you, Henry, for my lawful wedded husband.

The door opens, JANE PARKER comes in.

JANE. Mary, the Queen’s asking for…? What’s this?

ANNE. Out! Get out!

JANE goes.

MARY. Jane Parker – of all the bad luck – HARRY. Go after her, George –

ANNE. No, stay. She saw nothing. The ring.

HARRY puts the ring on ANNE’s finger.

HARRY. With this ring, I give myself to you – heart and soul.

ANNE. I take this ring… I take you – heart, soul, and body.

He kisses her.

No. On the mouth.

He kisses her.

Now nobody can part us. I’ll come to you at night.

GEORGE. I’ll go after Jane.

HARRY. Wife. Till night.

Exeunt HARRY and GEORGE.

MARY. You’re not going to his bed?

ANNE. You are still a child, aren’t you? We’re betrothed – before witnesses – in the sight of God we’re man and wife. Wives sleep with their husbands. Or in your own case with another wife’s husband.

MARY. That’s cruel.

ANNE. Let them all set their faces against us. When we’re betrothed and bedded what can they do? Men can’t alter the laws of God… Mary? What’s it like? Does it hurt? Much?

MARY. Depends how he’s made.

ANNE. I…

MARY. If you love him you’ll not mind the pain…

ANNE. Come to us in our bed – when it’s done – bear witness. Then his family will be forced to accept me.

MARY. And if they won’t be forced? If you fail –

ANNE, furious, grabs her.

ANNE. I shan’t fail – I can’t fail! This is a marriage! I’m not meek like you, Mary – I don’t give myself like a whore – nobody treads on me – no man uses me!

GEORGE and FRANCIS appear at the door. Exeunt with ANNE. Exit MARY by another door.

Scene Four

May Day. GEORGE deep in conversation with