1536 | Ambassadors Theatre

1536 is the hottest ticket in the West End at the moment; this powerful play has the potential to bring on major change in a world that desperately needs it. Following its sold out and critically acclaimed run at the Almeida, 1536 transfers to the West End's Ambassadors Theatre for a limited run. Written by Ava Pickett (as her debut play which has already been commissioned for a screen adaptation), and directed by Lyndsey Turner, 1536 is everything that theatre aspires to be; possibly even more. 

As the title suggests, the play takes place in 1536 in a small town in Essex when Henry the Eighth was King and Anne Boleyn, Queen. As Anne Boleyn is arrested, tried for adultery and found guilty, the wider society begins to reflect this with the ever-growing violence against women. Anna (Siena Kelly), Mariella (Tanya Reynolds) and Jane (Liv Hill) find their own lives changing rapidly with the time as their relationships with men and marriage become more complicated.

Anna is a bold young woman who is often sought after by the village men, she wishes for passion, sex and love; knowing that her beauty brings her both power and gifts from her admirers. Mariella, who is nursing a heartbreak after her love William (George Kemp) is recently married, dives into her work as a midwife whilst also serving as the mediator and best friend to both Jane and Anna. Jane, a young and naive woman whose close relationship with her father and eagerness to please causes her to be timid, is recently engaged to Richard (Oliver Johnstone). As Boleyn's trial extends, the laws that were once so rigid are relaxed... and with that comes severe repercussions for the women. 

Pickett's decision to use modern language for the play makes all the difference, allowing audiences to not only more easily understand, but to connect with the material. It's a harrowing realisation that these conversations and series of events may be happening in the present day. The contrast between the year 1536 and period clothing, and the sarcastic humour and frequent swearing is amusing and reassures audiences that they're in for an engaging show. The three young women's friendship allows for fast paced dialogue, inside jokes and banter, really capturing the pulse of today's youth. The three women each have very distinct voices, which is most noticeable with Jane's confusion with clichés, and Anna's ability to use innuendos. 

Pickett's script takes an unsuspecting world and thrusts it deep into one rooted in politics and the patriarchy, as each woman becomes an outsider in her own life. The steady changing of the tide into something more stark is well matched by the frequent emotional whiplashes, as the audiences hopes are crushed repeatedly. Each of the three women are so incredibly crafted, allowing audiences to understand their decisions even if they don't approve of them. Pickett doesn't shy away from the brutality of society, be it physical, sexual or metaphorical, and instead relishes using the raw truth to force audiences to confront the present day.

Pickett's talents transform the emotional thread of the piece, from a laugh a line to a collective silence punctured only by gasps or angry outbursts of furious sighs. The writing that has a clever and witty charm is soon stripped away to reveal a raw, intelligent script that is provocative and powerful. When every line becomes a stand alone quote that interrogates the system and fits in naturally with conversation, one knows that this show is a steady revolution. Despite the show's runtime of 1 hour and 50 minutes with no interval, it never feels long, and that's due to the impressive amount of plot twists and layering that Pickett provides.

Turner's direction brings out the best of this piece, allowing for the characters to remain stationary and still feel the full force of the dialogue. Turner matches, possibly even raises, the intensity of the show as the final twenty or so minutes of the show has the audience on their seat. 1536 is not an easy watch, demanding audiences are wrecked with emotions throughout the play, and leaving with their hearts racing. Turner leans into the comedy well at the start, finding the humour in Pickett's dialogues, but it's the longevity of the physical moments leading up to the climax that really stands out. 

Kemp's gentle presence is often overshadowed by the confrontational other characters. His soft spoken delivery and obvious yearning for Mariella makes a slightly endearing character. Johnstone is menacing as Richard. Johnstone's ability to feel both approachable and downright terrifying is impressive; and he does evoke goosebumps in the audience.  Reynolds is a breath of fresh air in the play, as her sensible tendencies, empathetic soul and struggle to be confident set up the show's climax well. Reynolds, no stranger to period dramas having starred in the recent BBC smash series The Other Bennet Sister, excels as the doe eyed and exhausted midwife. Reynolds performance is utterly convincing, even mesmerising to watch as she holds back emotions to do what is right.

Hill is a fantastic performer, bringing two very different sides to the role. Hill's portrayal of the resigned Jane is heartbreaking to watch, which makes her betrayal a jaw dropping plot twist, with one of the best performances on stage in recent times. Kelly is a commanding stage presence with a self assured performance that hits all the right beats. Kelly has some of the show's most hardest lines and scenes and she rises magnificently to the challenge, with an unmatchable performance.

Max Jones' set design is an interesting juxtaposition between period and modern. The large grey screen that is slowly infused with colour, and the lining of the stage with sharp blue and white tube lights, provides a rather intimate black box stage. However, this is mostly hidden away by the large tree trunk, tall fields and dusty floor. The set is immediately a romantic one, with a tree and plants making a silhouette on the screen. The colours of the set, alongside the careful costume choices, gives the show historical sense. The three women are in dresses of the time with definite colours and styles that best represent themselves. 

Jack Knowles' lighting design, alongside the screen, creates a basis for the time of the day, becoming an important piece of visual context. Knowles' design also includes a gorgeous sunset glow. Tingying Dong's sound design incorporates the inner emotions of the characters, with Anna's scenes often featuring bird calls in the background. 

Anna Morrissey and Sam Lyon-Behan, the show's intimacy director, and choreographer and fight director, deserve a special mention for their creative collaboration on the show. The show, whilst primarily dialogue driven, also uses realistic physical interactions. Anna and Richard's relationship is an ever-changing one, and Kelly and Johnstone really commit to their roles, laying their blood sweat and tears on stage for audiences to soak.

1536 is a powerful play that reflects the society we live, whilst reminding audiences of the importance of remembering our past to ensure that history never repeats itself. The show highlights several damming truths, most obviously the negative trickling down in society with a corrupt leader. The parallels between Anna and Anne Boleyn are scarily similar, and this becomes a recurring theme, especially as Boleyn is found guilty. The story is intelligent with this parallel, but it's the growing interpersonal relationships that really add to the dramatic element. 

1536 is a must watch show, by whatever means possible. It is perhaps the most courageous play to take to the stage and inspires that same confidence in the women and empowers the men to change. It is a life changing play, gripping and thought provoking throughout.

1536 is currently playing until 1st August 2026 at the Ambassadors Theatre - tickets and more information can be found here.

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Helen Murray