By Diane
Holcomb Wilshere
Presented at
the Popular Cultural Association/
American
Cultural Association National Conference
Washington,
D.C. March 27, 2013
Acknowledgements
This paper would not have
been possible without the cooperation and support of the following:
Dr. Kimberly Tony
Korol-Evans – department chair, friend, mentor
The interview subjects
whether formally responding to questions or discussing memories of the festival
in years pass with the author at cocktail parties:
Thomas Plott, Thomas
Cromwell 1993-1994
Steven Kirkpatrick, Thomas
Cromwell 2003-2005, 2007
Carolyn Spedden, Artistic
Director, Maryland Renaissance Festival
Mike Field, Playwright
Mary Ann Jung, Royal Court
Director, Maryland Renaissance Festival
And this paper is dedicated
to Kevin Wilshere, for his love, support and putting up with the author’s
eccentricities
“…it must not be denied but I am a plaine dealing vilaine,”
---Don John, Much Adoe About
Nothing by William Shakespeare[1]
William
Shakespeare’s villains are easy to identify. They tell us they are villains.
There is no subtext, no deep dark childhood secret that makes us realize that
they aren’t really bad people. They are who they are and this makes watching
them that much more enjoyable for the audience. When it comes to history,
particularly the popular culture obsession with all things Tudor England, there
is a similar desire to create easily identifiable heroes and villains.
What are the
challenges for an actor when they are portraying a person from history who is
usually identified by popular culture as the villain? One could easily write a
novel-length paper on the many persons who were at the courts of the Tudor
monarchs who, in historical fiction, plays and films are seen as the villains.
The Maryland Renaissance Festival employs professional actors to portray the
King and his court. The royal
court storyline changes from year to year. The festival has portrayed all six of King Henry VIII’s
queens twice and has now returned back in time to portray Queen Katherine of
Aragon for a third time.
In the course of
the two previous queenly cycles two actors have portrayed a character widely
seen in both fictional and non-fictional mediums as a villain. Thomas Cromwell
is popularly seen as the orchestrator of the falls of Sir Thomas More and Queen
Anne Boleyn. As the Vice-Regent
for the King In Spirituals Cromwell destroyed the monasteries filling the King’s
treasury with the spoils and using the land to enrich himself and other members
of the court. Thomas Cromwell made
a fatal mistake in promoting the King’s marriage to his fourth wife, Queen Anna
of Cleves. Two months after being
raised to the title of Earl of Essex he was arrested and attainted for treason
and heresy. His subsequent execution was grisly as the headsman botched the
job. A fitting end to a notorious
villain.
“With rewards and penalties –so much wickedness purchases so much
worldly prospering---“
---Thomas Cromwell, A Man For All
Seasons by Robert Bolt[2]
We all love a good
story. When it comes to history we are much more enamored of historical
narratives with clear heroes and villains rather than a simple rote list of
names, dates and events. It has
been ever so from the first chroniclers of Tudor History. Examining Thomas Cromwell he has been brushed
with the label of villain since the earliest chroniclers. Theatrically he is portrayed as a
driving calculating minister who rose in power from his humble peasant
beginnings to the most powerful man in the kingdom, the indispensible right
hand man to the king.[3][4]
[5]
When those
historians, whether John Foxe in his Acts and Monuments positively extolling
the Protestant virtues of Thomas Cromwell’s church reforms[6]
or Nicholas Sander demonizing Cromwell for persecuting the Carthusian monks for
refusing to swear an oath recognizing King Henry VIII as head of the Church of
England,[7]
each historian’s viewpoint is colored depending on the moral tale they wished
to relate to their readers. This
has translated to the fictional portrayals of Thomas Cromwell from the
beginning. Even William Shakespeare has weighed in on Thomas Cromwell,
portraying him as the loyal servant of Thomas, Cardinal Wolsey, devastated by Wolsey’s
downfall.[8]
What has changed
in the 20th and 21st centuries is the rise in popularity
of historical fiction. The majority of the portrayals of Thomas Cromwell keep
him in his traditional role as the villain of Henry VIII’s court. There have
been numerous dramatic portrayals on stage, screen and television that have,
for the most part continued the popular stereotypes of Henry VIII’s prominent
minister.
Discovering the
real person behind the popular cultural perception has become much easier in
the past decade with the availability of primary source materials on the Internet. It is easier to examine the letters and
papers of King Henry VIII’s court and read the actual accounts of the
reign. Numerous out of print
books, such as accounts originally published in the Victorian era are available
to download and peruse. Yet, the stereotypes persist. After all, the history seems juicier
when one can write dramatic tales, for example, Queen Anne Boleyn’s allegedly
deformed miscarried son[9],
which most historians believe was not the case.[10]
[11]
This is partly due
to the continued interest in Tudor England in popular culture starting in 1998
with the release of the Academy Award-winning film Elizabeth. From Philippa Gregory’s novels The Other Boleyn Girl
and The Boleyn Inheritance, Hilary Mantel’s Man Booker Prize winning
novels Wolf Hall and Bring Up The Bodies, to the many miniseries
on Henry VIII and his daughter Elizabeth I which led up to the very popular
Showtime series The Tudors, the 16th
century remains a popular subject to dramatize. This is also apparent at those
renaissance festivals that portray the royal court through storylines based on
historical events.
“As matters stand you are but half a king…What the King of England
wants he should have, without hindrance from abroad.”
---Thomas Cromwell, Anne of The
Thousand Days by Maxwell Anderson
The Maryland
Renaissance Festival is known for providing entertaining dramatized plays about
the prominent events in the reign of King Henry VIII. As mentioned previously, the Maryland
Renaissance Festival has portrayed the entire cycle of King Henry VIII and all
six of his queens twice and has started with Queen Katherine of Aragon for a
third time.[12]
The special nature of acting at a
renaissance festival also leads to what Dr. Kimberly Tony Korol-Evans terms
historical elaboration.[13]
Dr. Korol-Evans
defines historical elaboration as
“first-person interpretation with an additional theatrical flair.”[14]
Renaissance festival actors are not just performing their characters as part of
a play on a stage. Many members of the audience gain a chance to interact with
the actors through improvisation, thus gaining a more personal relationship
than they might develop by simply seeing the character on a stage. Through such
interactions, the audience gets an idea of whom that person might have been
through the interpretation of the actor portraying the part. When Thomas
Cromwell is portrayed as the villain it becomes a chance for an actor to either
fully embrace that villainous role or subtlety shade the audience’s perception
by giving them a glimpse into the character’s motivations for his actions.
“I tread as my duty
directs me, your majesty. I tread for your interests.”
Thomas Cromwell, The Six Wives of Henry VIII: Anne Boleyn
by Nick McCarty[15]
It is a breath of
fresh air that Thomas Cromwell’s recent biographer, Robert Hutchinson does not
waste pages trying to expand upon what little is known about Thomas Cromwell’s
early life. We don’t know exactly
when Thomas Cromwell was born, but it is presumed to be around 1485. His father, Walter Cromwell was a
violent man who was in constant legal troubles and held many different jobs
including that of blacksmith.
At some point young Thomas ended up going to the continent where he
traveled to the Low Countries and Italy and may have fought as a member of the
French army on the losing side in a war with the Spanish.[16]
He ended up in Antwerp and Italy where he became a clerk to several bankers and
merchants and became fluent in several languages.[17]
Returning to England by 1516 he had married and was considered influential enough
to be sent by John Robinson, an aldermen of Boston in Lincolnshire to travel to
Rome to seek two indulgences from Pope Leo X.[18]
It is not known
when he became acquainted with Thomas, Cardinal Wolsey, but he entered the
Cardinal’s service at some point in the mid-1520’s. Cromwell also served in the House of Commons in Parliament.[19] Cromwell survived the fall of Wolsey
from favor and joined the King’s household in 1530. He would become known to history for his legal
expertise in the King’s Great Matter (or the annulment of the marriage of King Henry VIII and Queen Katherine of
Aragon) and the rise of Anne Boleyn to queen. His role as Vice-Regent of the King in Spirituals led to his
overseeing the dissolution of the monasteries and brought him into conflict
both with the conservative, more traditional Roman Catholic members of the
aristocracy and with the reforming faction represented by Queen Anne and her
brother, George, Viscount Rochford.
It is those conflicts that have made Thomas Cromwell a natural villain
in the fictional versions of the court of King Henry VIII. Thomas Cromwell has featured as a
villain in such works as Robert Bolt’s A
Man For All Seasons, Maxwell Anderson’s Anne
of the Thousand Days, the 1970 BBC Miniseries The Six Wives of Henry VIII and the 2007-2010 Showtime Series The Tudors.
The storylines
written for the two Thomas Cromwells portrayed at the Maryland Renaissance
Festival have been based on actual incidents of the time period. They have been
changed for dramatic effect sometimes changing the setting to the Festival’s
fictional village of Revel Grove or giving Cromwell a more active role in some
events. In the plays and scenarios
written for the character Thomas Cromwell remains a person of power and
influence and most certainly, the villain.
“I am not the King’s right hand, I am his fist.”
---Thomas Cromwell, Cromwell’s
Ghost by Mike Field[20]
Thomas Plott
portrayed Thomas Cromwell at the Maryland Renaissance Festival for two seasons,
1993 and 1994. In 1993 the year
portrayed was 1537 and King Henry VIII was looking for property to build
Nonsuch Palace. As Royal Court Director Mary Ann Jung commented she had
discovered that historically the village of Cuddington in Epsom, Surrey had been sold to the crown and
destroyed to make way for the palace and two royal parks. [21]In
the Festival’s version of the story Thomas Cromwell decided that Revel Grove
was the perfect location and tried to get the Mayor of Revel Grove to sign the
property over to the crown.[22] In the course of the festival
performance day, the Mayor received a blow on the head, which made him think
that he was King Alfred the Great.
At the end of the day, the Mayor regained his memory just as he was
about to sign over the deed to the village. Cromwell ordered his subordinate, the village deputy Cyril to
take care of the Mayor leading to the Mayor’s murder.
In 1994, this
storyline was revisited in the haunting tale written by playwright Mike Field, Cromwell’s Ghost. In the story Cromwell is lured to
the home of a local embroider who wants to punish Cromwell for the death of the
Mayor and the subsequent madness of the Mayor’s sister. The actual ghost of the Mayor appears
to Cromwell, literally making him confront the demons of his past.
The main royal court
storyline that season concerned the ill-fated marriage of King Henry VIII and Queen
Anna of Cleves. After the King’s
wedding was held on the joust field, Cromwell was forced to sit on a bench on
the field to watch the final joust of the day instead of in the royal reviewing
stand. Once the joust concluded
Cromwell was arrested. He charged
towards the royal box, was whipped and escorted away to prison while the village
choir sang Mozart’s Dies Ire.
According to
playwright Mike Field, Cromwell’s power was emphasized by his dramatic arrival
with the royal court first thing in the morning. Cromwell was carried by four men in a covered litter as the
rest of the royal court walked in procession through the gates of the village.[23] His subsequent fall from grace was
visually stark as he sat on a simple wooden bench while the joust took
place. Reflecting on his time as
Thomas Cromwell Mr. Plott did not
see Cromwell as a villain but as a necessary evil. Yet he was delighted by his audience interactions, describing
how he was treated and how he treated the audience by saying “with fear,
loathing and delight…All that I hoped for.”[24]
Mr. Plott saw the arc of the
storyline he portrayed as a “classic villain storyline. He was a man who could not escape his
fate, though he thought he could.”[25]
Mr. Plott has a
unique perspective, as he is a Character Interpreter at George Washington’s Mt.
Vernon in Virginia. When asked to
comment on the differences between being a Character Interpreter at an historic
location such as Mt. Vernon and performing an historic character at the
Maryland Renaissance Festival, Mt. Plott replied, “ The similarities are the
fact that Cromwell is a historical person and certain facts are known about
him. As a Character Interpreter
you try to use the knowledge of these facts to create a realistic portrayal of
the person. In the case of Cromwell for the festival, I also had to shape my
performance using the scripts as another set of ‘facts’ to specifically portray
him as a villain.”[26]
“The last three weeks
I was alive, I couldn’t speak to Henry, couldn’t send a message. Cromwell cut
me off. While he told his lies.”
----Anne Boleyn, Anne
Boleyn by Howard Brenton[27]
Thomas Cromwell
returned to the cast of the Maryland Renaissance Festival in 2003, this time in
the guise of actor Steven Kirkpatrick.
He would portray Cromwell until the 2007 season, with the exception of
the 2006 season. Mr. Kirkpatrick
recalled that the storylines over the course of the four seasons “increasingly
emphasized the rise of Cromwell in power and influence.[28] Mr. Kirkpatrick began his tenure as
Cromwell as the festival portrayed the year 1534 and the storylines showed that
King Henry VIII could depend upon Cromwell to do what the king wanted. The scripts gave Mr. Kirkpatrick clues
that shaped his Cromwell as shrewd, calm and wry. Fellow members of the cast commented to Mr. Kirkpatrick that
while they remembered Thomas Plott’s Cromwell as more of a Darth Vader-like
terrorizing villain, Mr. Kirkpatrick was more “slimy”, “like a snake,” or “like
Severus Snape”[29] from Harry Potter.
In 2004, the
festival portrayed the Year of Three Queens.[30]
In the course of the festival performing day Queen Katherine of Aragon died, Queen
Anne Boleyn was arrested and executed and Mistress Jane Seymour was betrothed
to the king. In history these
events happened over the first five months of the year 1536. Dramatically it was a compelling series
of plays and street scenarios that brought these historic events to life.[31]
Thomas Cromwell was a prominent figure in each of the queen’s stories,
announcing that Queen Katherine of Aragon was on her deathbed, interrogating
Queen Anne’s ladies in Queen Anne’s
Arrest and being honored with the noble title Baron of Oakham as part of Jane’s Betrothal. Mr. Kirkpatrick related that as Cromwell’s
power grew he was shown at one point sitting in the King’s throne issuing
orders. In another example, Queen
Anne hurled curses and accusations at him as he followed her in procession as
she exited the festival on her way to imprisonment in the Tower of London.[32]
It was the
following season that gave Mr. Kirkpatrick the opportunity to show Thomas
Cromwell in his villainous glory.
The 2005 season focused on The Lost Princess.[33] The year portrayed was 1537, although the
main storyline, the return of the Lady Mary, daughter of King Henry VIII and Queen
Katherine of Aragon to court, historically took place in the year 1536. Cromwell was tasked with obtaining the
written capitulation of the Lady Mary that accepted that her father was now
head of the Church of England and that her mother’s marriage was unlawful and
incestuous making herself illegitimate. [34]
Mr. Kirkpatrick recalled, “The
scripts had Cromwell accompanied by Sir Richard Southwell, who indeed served as
his henchman, grim-faced and ready to urge violence.”[35]
Mr. Kirkpatrick’s
own research on Cromwell revealed that the “speculation about Cromwell’s early
years and possible mercenary work in Italy, would have accounted for the
violence that was revealed in the Lady Mary interrogation.”[36]
He ultimately did not see Thomas Cromwell as an “outright villain,” but “as
some one for whom gaining power and influence over people was enough of a kick
that he couldn’t help himself.”[37]
I have served my Lord
with all my mind and spirit. I am
no traitor!
Thomas Cromwell,
Cromwell’s Dream by Carolyn Spedden[38]
As with Thomas
Plott, Steven Kirkpatrick also portrayed the fall of Thomas Cromwell from power. His experience was unique, as his
character was not actually arrested for treason. Instead the stage play Cromwell’s
Dream written by Carolyn Spedden dramatized the events leading up to and
including the arrest. Thomas
Cromwell, working tirelessly at his desk fell asleep. In his dream state his enemies at court confronted him for
his treasonous behavior. Cromwell
awoke from his nightmare, uneasy with the specter of the axe haunting his
soul.
When asked to
reflect on his four seasons as Thomas Cromwell, Mr. Kirkpatrick mentioned that
the most vivid patron interactions were based on audience members mistaking
Thomas Cromwell for Oliver Cromwell.
Oliver Cromwell, a descendant of Thomas Cromwell’s sister, is reviled
for his treatment of the Irish.
“Those were the only times I received outright reactions or negative
comments…However, there were always a few savvy patrons who know the history
and who might sidle up to me—especially after a court show—and say ‘You’ll get
yours one day, you know.’”[39]
“Those who are made
can be unmade.”
Anne Boleyn, Bring
Up the Bodies by Hillary Mantel[40]
As in all stories
of good versus evil, the bad guy loses in the end. The real Thomas Cromwell was arrested while attending a
Privy Council meeting on June 10, 1540. An Act of Attainder of treason and
heresy passed by Parliament convicted him, a process he himself had promoted as
a way to bypass the need for a trial.
Kept alive long enough to assist from his cell in the Tower of London
with the annulment of the King’s marriage to Queen Anna of Cleves he was
executed by beheading on July 28, 1540, the same day that the King married his
fifth queen, Katharine Howard.[41]
Thomas Cromwell’s newest biographer, Diarmaid MacCulloch writes in the March
2013 issue of BBC History Magazine that Cromwell’s fall and death were caused by
four factors. The first factor is
the one that is most famous and the primary reason used in fictional
portrayals, the arrangement of the King’s marriage to Anna of Cleves. Secondly, and this is a new revelation,
Cromwell angered Thomas Howard, 3rd Duke of Norfolk by ignoring the
Duke’s wishes for Thetford Priory, traditional burial place of the Howard
family and coincidentally the burial place for he King’s illegitimate son,
Henry Fitzroy, Duke of Richmond and Somerset. Norfolk wished to have the priory converted to a college of
priests. Cromwell closed the
priory in February 1540 and Norfolk was forced to relocate his family’s tombs
35 miles away to Framlingham. Third,
in March 1540, John Bourchier, 15th Earl of Essex died and the King
granted his ancient title to Cromwell.
Lastly, John de Vere, 15th Earl of Oxford died, the
hereditary Great Chamberlain of England one of the oldest royal offices. The King granted it to Cromwell.[42]
The blacksmith’s son from Putney had angered the aristocracy one too many times
and they were able to persuade the King to put an end to Cromwell.
Thomas Cromwell is
a complex character that makes for a fascinating villain from Tudor
England. He can be the
consummate villain of such plays as Robert Bolt’s A Man For All Seasons or Howard Brenton’s Anne Boleyn.
Alternatively he is a more complicated man, whether in the novels of
Hillary Mantel or the television series The
Six Wives of Henry VIII and The Tudors.
There is continued
interest in Thomas Cromwell thanks to new scholarship in the guise of Diarmaid
MacCulloch’s soon to be released biography and Hilary Mantel’s planned novel
relating the end of his life. As
the Maryland Renaissance Festival cycles its way through the 1520’s and 30’s
for the third time you can be assured that Thomas Cromwell will reappear in the
tales told of King Henry VIII’s court.
It will be fascinating to see whether he will once again be the Darth
Vader-like terror embodied by Thomas Plott or the smooth, coy snake of Steven
Kirkpatrick. One can look forward
to the return of Thomas Cromwell to the cast of the Maryland Renaissance
Festival. Perhaps he will emerge
in a third manner as a new actor puts his own memorable interpretation on the
streets of Revel Grove.
“Men so noble, however
faulty, yet should find respect for what they have been.”
---Cromwell, Henry VIII by William Shakespeare[43]
[1] William
Shakespeare, Much Adoe About Nothing,
Applause First Folio Edition, (New York: Applause Theatre Books, 2001) 13
[2] Robert Bolt,
A Man For All Seasons, (New York:
Vintage Books: 1960), 41
[3] Bolt 41
[4] The Tudors. Directors various. (Showtime, TM Productions Limited/PA
Tudors Inc. An Ireland-Canada Co-Production), 2007-2009
[5] The Six
Wives of Henry VIII.
[6] John Foxe.
The Unabridged Actes and Monuments Online or TAMO. (Sheffield: HRI Online
Publications) 1563 Edition, Book 3
578-589
[7] Nicholas
Sander, Rise and Growth of the Anglican Schism, Google Play Digital Edition (London:
Burns and Oates, 1877) 253
[8] Shakespeare,
William. Henry VIII or All Is True, Folger
Shakespeare Edition (New York: Washington Square Press, 2007) 153-159
[9] Philippa
Gregory, The Other Boleyn Girl, (New York: Touchstone, 2001) 589
[10] Eric Ives. The
Life and Death of Anne Boleyn, (Malden, Massachusetts: Blackwell
Publishing, 2004) 296-298
[11] Claire
Ridgway. The Fall of Anne Boleyn: A Countdown, Kindle Edition
(MadeGlobal Publishing: April 2012) 17-19.
[12]
http://rennfest.com/entertainment/this-year-s-story-line 2012
[13] Dr.
Kimberly Tony Korol-Evans, Renaissance Festivals: Merrying The Past And
Present, (Jefferson, North Carolina: McFarland and Company, Inc., 2009) 123
[14] Korol-Evans
123
[15] Nick
McCarty, The Six Wives of Henry VIII: Anne
Boleyn, BBC 1970, DVD 2000
[16] Hutchinson,
Robert. Thomas Cromwell: The Rise and Fall of Henry VIII’s Most Notorious
Minister, (London: Phoenix, 2008)
7-9
[17] Hutchinson
10
[18] Hutchinson
10
[19] Hutchinson
13-17
[20] Field,
Mike, Cromwell’s Ghost (Crownsville,
MD: Maryland Renaissance Festival 1994
[21] Field
notes, interview with Mary Ann Jung, March 2013
[22] Field
notes, interview with Thomas Plott, March 2013
[23] Field,
March 2013
[24] Plott,
March 2013
[25] Plott,
March 2013
[26] Plott,
March 2013
[27] Brenton,
Howard, Anne Boleyn, Kindle Edition (London: Nick Hern
Books, 2012) 113
[28] Field
notes, interview with Steven Kirkpatrick, March 2013
[29]
Kirkpatrick, March 2013
[30] http://articles.mcall.com/2004-08-22/features/3555229_1_dorflinger-glass-maryland-renaissance-festival-opening-weekend
[31]
Korol-Evans, 128-144
[32] Field
notes. Interview with Steven Kirkpatrick.
[33] http://friendsofmdrf.org/dokuwiki/doku.php?id=2005
[34] Porter,
Linda. The First Queen of England, (New York: St. Martin’s Press, 2007)
118-125
[35] Kirkpatrick
March 2013
[36]
Kirkpatrick, March 2013
[37]
Kirkpatrick, March 2013
[38] Spedden
Carolyn, Cromwell’s Dream, (Crownsville,
MD: Maryland Renaissance Festival, 2007)
[39]
Kirkpatrick, March 2013
[40] Mantel,
Hillary, Bring Up the Bodies,
Kindle Edition, (New York: Henry Holt and Company, LLC., 2012) 110
[41] Hutchinson,
238-263
[42] MacCulloch,
Diarmaid. “Thomas Cromwell: a Thug in a
Doublet?”, BBC History Magazine, Ipad Edition (Bristol: Immediate Media
Company Bristol Ltd., March 2013) 29-33
[43]
Shakespeare, Henry VIII, 215
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