Synopsis of VIII

In VIII, Henry appears to defend his life and his reputation, to tell his story, not as a dry history lesson, but as a very human life, the life of a king who was determined for so long to do the right things, by his people, by his Monarchy, and by God.  If that defense is ultimately one of self-delusion, if the virtue of his early reign gave way to a despotism that stands out amongst the great tyrants of history, then the story of Henry the Eighth becomes all the more compelling, and all the more human.

It is impossible to create an "accurate" portrait of Henry Tudor.  The known facts about his life are not the measure of the man.  Any attempt to portray the man must blend fact with conjecture, conjecture with dramatic license.  Our job is to create a compelling and human character, a character who has charm as well as violence, heroism as well as despotism, who is ruled both by his intellect and by his heart.  Is this the definitive Henry Tudor?  Probably not.  But this Henry Tudor is definitely a man.

Finally, VIII is an odd bird as dramatic or historical plays go.  First, it is a musical, full of love songs and sweeping anthems, sprinkled with anachronisms and humor.  Second, it is a one-man show that is to say, while it is peopled with many characters, there is only one on stage.  The recollection of events, then, is solely from the perspective of that lone character.  Third, VIII is not content to be a historical musical play, but seeks to take the audience on a journey inside the mind of this man, a journey which descends into madness and out the other side to redemption.  VIII defies easy categorization.  One simply straps in and gives over to the ride.

 

   

 

 

About VIII

November 13, 1998, Friday
New York Times

MOVIES, PERFORMING ARTS/WEEKEND DESK

THEATER REVIEW

A Monarch Who Married Frequently, but Not Well

By ANITA GATES

Very few actors could pull off a one-man show about Henry VIII, much less a one-man musical. Richard Burton, probably, with his ''Camelot'' voice, but not many others. Steeve Arlen, however, does in ''Eight! Henry VIII, That Is!,'' and he does it on the tiny, bare stage of the TriBeCa Playhouse.

Mr. Arlen  is a large man with a powerful, kingly stance and a kingly Welsh voice. Dressed in a purple robe, he proceeds in 90 minutes or so to review Henry's life, which means primarily his six marriages, with 15 musical numbers in a motley assortment of styles.

Mr. Arlen, who starred in ''La Cage aux Folles'' on Broadway in the mid-1980's, has a grand voice, but you could cut every song  and have a powerful one-man drama. Mr. Arlen is touching, witty and thoroughly convincing in the role of Henry, a chronically unhappy monarch who nonetheless never suffered from a shortage of self-esteem.

When he mourns the death of Thomas More, his regret seems genuine. (''I lost a dear friend. But I was a king. It had to be done.'') Too bad he had to behead someone he liked. The notorious Henry seems truly alive onstage; very possibly insane, but believably so.

Mr. Arlen wrote the play as well, with a winning combination of the lyrical (''I was drunk with the promise of Anne,'' referring to his second wife, Anne Boleyn); the knowingly humorous (''For those of us keeping score, that is two down and four to go,'' after he describes Anne's beheading), and the deliberately contemporary (''I thought my dad was going to have a fit'').

In the scene in which Henry arrives at Parliament, drunk, Mr. Arlen goes into the aisles and interacts with the audience. Where lesser men would falter, he holds character with royal sureness.

But why he chooses to make his entrance as Henry VIII shouting about his chamber pot, and then turns his back to the audience and simulates urination, is a mystery. Maybe the idea is to humanize Henry from the beginning.

EIGHT!
Henry VIII, That Is!

Book by Steeve Arlen; music and lyrics by Donald Eugster and Mr. Arlen; directed by Jeff Cohen. Orchestration/sound by Bob Summers; choreography by Stan Mazin; technical director, Tim Lee; lighting by Genny Wynn. Presented by the Burning Bush, in association with Jeff Cohen and Carol Fineman. At the TriBeCa Playhouse,
111 Reade Street, TriBeCa.

 

 
Powered by Anything Email
 

    Welcome

About Steeve

Reviews

About VIII

Contacts