- A Man for All Seasons
A Man for All Seasons Written by Robert Bolt Characters The Common Man
Sir Thomas More
The Duke of Norfolk
King Henry VIII
Cardinal Thomas Wolsey
Date premiered July 1, 1960 (London), November 22, 1961 (Broadway) Place premiered ANTA Playhouse Original language English Subject Genre Setting Sixteenth century England IBDB profile
A Man for All Seasons is a play by Robert Bolt. An early form of the play had been written for BBC Radio in 1954, and a one-hour live television version starring Bernard Hepton was produced in 1957 by the BBC, but after Bolt's success with The Flowering Cherry, he reworked it for the stage.
It was first performed in London opening at the Globe Theatre (now Gielgud Theatre) on July 1, 1960. It later found its way to Broadway, enjoying a critically and commercially successful run of over a year. It has had several revivals, and was subsequently made into a feature film and a television movie.
The plot is based on the true story of Sir Thomas More, the 16th-century Chancellor of England, who refused to endorse King Henry VIII's wish to divorce his ageing wife Catherine of Aragon, who could not bear him a son, so that he could marry Anne Boleyn, the sister of his former mistress. The play portrays More as a man of principle, envied by rivals such as Thomas Cromwell and loved by the common people and by his family.
The title reflects 20th century agnostic playwright Robert Bolt’s portrayal of More as the ultimate man of conscience. As one who remains true to himself and his beliefs under all circumstances and at all times, despite external pressure or influence, More represents "a man for all seasons". Bolt borrowed the title from Robert Whittington, a contemporary of More, who in 1520 wrote of him:
"More is a man of an angel's wit and singular learning. I know not his fellow. For where is the man of that gentleness, lowliness and affability? And, as time requireth, a man of marvelous mirth and pastimes, and sometime of as sad gravity. A man for all seasons."
A Man for All Seasons struggles with ideas of identity and conscience. More argues repeatedly that a person is defined by his conscience. His own position is depicted as almost indefensible; the Pope is described as a "bad" and corrupt individual, forced by the Emperor Charles V to act according to his will. But as More says to Norfolk, "What matters is not that it's true, but that I believe it; or no, not that I believe it, but that I believe it." More fears that if he breaks with his conscience, he will be damned to hell, while his associates and friends are more concerned with holding onto their own temporal power.
At another key point of the play, More testifies before an inquiry committee and Norfolk attempts to persuade him to sign the Act of Succession (pp. 78, Heinemann edition):
- "Norfolk: Oh, confound all this.... I'm not a scholar, as Master Cromwell never tires of pointing out, and frankly I don't know whether the marriage was lawful or not. But damn it, Thomas, look at those names.... You know those men! Can't you do what I did, and come with us, for fellowship?
- More: And when we stand before God, and you are sent to Paradise for doing according to your conscience, and I am damned for not doing according to mine, will you come with me, for fellowship?"
More's persecution is made to seem even more unjust by the inclusion of Eustace Chapuys, the long-time Spanish ambassador to England, into the story. Chapuys recognizes More as a stout man of the church, and in Act II, after More's resignation from the Chancellorship, he informs More of a planned rebellion along the Scottish border, expecting More to be sympathetic. Instead, More informs Norfolk of the plot, showing him to be patriotic and loyal to the King. This, along with More's refusal to actually speak out against the King, shows him to be a loyal subject, and thus Cromwell appears to prosecute him out of personal spite and because he disagrees with the King's divorce.
Bolt also establishes an anti-authoritarian theme which recurs throughout his works. All people in positions of power — King Henry, Cromwell, Wolsey, Cranmer, Chapuys, even Norfolk — are depicted as being either corrupt, evil, or at best expedient and power-hungry. Bolt's later plays and film screenplays also delve into this theme. The theme of corruption is also illustrated, in Rich's rise to power, the Common Man being drawn into the events of the storyline, and in the (deliberately) anachronistic portrayal of Henry as a younger, athletic man (in 1530 he would have been in his forties and already putting on weight).
Although it is the law that eventually forces More's execution, the play also makes several powerful statements in support of the rule of law. At one point More's future son-in-law, Roper, urges him to arrest Richard Rich, whose perjury will eventually lead to More's execution. More answers that Rich has broken no law, "And go he should if he were the Devil himself until he broke the law!" Roper is appalled at the idea of granting the Devil the benefit of law, but More is adamant.
- "What would you do? Cut a great road through the law to get after the Devil? ... And when the last law was down, and the Devil turned round on you – where would you hide, Roper, the laws all being flat? This country is planted thick with laws from coast to coast, Man's laws, not God's, and if you cut them down -- and you're just the man to do it -- do you really think you could stand upright in the winds that would blow then? Yes, I give the Devil benefit of law, for my own safety's sake!"
Some historians and critics have criticized the play's portrayal of More as a saintly character, noting that Bolt mentions none of More's more negative activities, such as his campaign against William Tyndale and his persecution of Lutherans while serving as Chancellor. The depictions of Thomas Cromwell, the Duke of Norfolk, and Richard Rich are also historically suspect. (Also, in real life More had three paternal daughters, a son, and an adoptive daughter, but only his eldest, Margaret, appears in the play.) Bolt's decision to portray More through his relations with family and friends, and not the broader political context of the time period, has also been criticized.
The character of the Common Man serves as a narrator and framing device. A Brechtian character, he plays various small parts — More's servant, a publican, a boatman, More's jailer, jury foreman and executioner—who appear throughout the play, both taking part in and commenting on the action. Several sequences involving this character break the fourth wall—most notably, a sequence where the Common Man attempts to exit the stage and is addressed by Cromwell, who identifies him as a jury foreman. (Indeed, the "jury" consists of sticks or poles with the hats of the Common Man's various characters put on top.) Bolt created the Common Man for two main reasons: to illustrate the place and influence of the average person in history, even though they are usually overlooked, and to try to prevent the audience from sympathizing with the more titled characters such as More, realizing that the audience is more closely related to him—a classic case of Brechtian alienation, designed to prevent the audience from being too engrossed in More's plight. The character's role in the story has been interpreted in many different ways by different critics, from being a positive to a negative character. Many of Bolt's subsequent works featured similar characters.
Two different endings were written by Bolt. The original ending, performed during the show's preliminary run in England, had Cromwell and Chapuys confront each other after More's execution and then exit the stage, hand in hand, chuckling with "the self-mocking, self-indulgent, rather rueful laughter of the men who know what the world is and how to be comfortable in it".
This particular ending is exemplary of Bolt's notion of "riding with the current", as is demonstrated by "men who know what the world is and how to be comfortable in it", forsaking one's conscience in exchange of a life of "convenience". For the show's London production – and most, if not all, subsequent runs of the show – the Common Man sheds his executioner's garb and addresses the audience one final time:
"... It isn't difficult to keep alive, friends – just don't make trouble – or if you must make trouble, make the sort of trouble that's expected... If we should bump into one another, recognize me."
The film version of the play ends with More's execution, followed by a narrator reading off the fates of the various characters involved (originally, this was dialogue spoken by the Common Man prior to the Tower of London Inquiry).
The original West End cast included:
- The Common Man – Leo McKern
- Sir Thomas More – Paul Scofield
- Richard Rich – John Brown
- Duke of Norfolk – Alexander Gauge
- Alice More – Wynne Clark
- Margaret – Pat Keen
- Cardinal Wolsey – Willoughby Goddard
- Thomas Cromwell – Andrew Keir
- Chapuys – Geoffrey Dunn
- Attendant – Brian Harrison
- Will Roper – John Carson
- Henry VIII – Richard Leech
- Woman – Beryl Andrews
- Archbishop Cranmer – William Roderick
In London, Man ran simultaneously to another of Bolt's plays, The Tiger and the Horse. Both plays were major hits, although Horse was the more successful of the two. British critical reaction was largely positive, albeit reservedly so; few reviews at the time regarded the play as a classic. The show ran for 320 performances.
The play was first performed on Broadway on November 22, 1961 at the ANTA Playhouse
Original Broadway Cast
- The Common Man- George Rose
- Sir Thomas More- Paul Scofield
- The Duke of Norfolk- Albert Dekker
- Thomas Cromwell- Leo McKern (later Thomas Gomez)
- King Henry VIII- Keith Baxter
- Margaret More- Olga Bellin
- William Roper- Peter Brandon
- Catherine Anger- Sarah Burton
- Attendant- John Colenback
- Cardinal Wolsey – Jack Creley
- Alice More- Carol Goodner
- Thomas Cranmer- Lester Rawlins
- Richard Rich- William Redfield
- Signor Chapuys- David J. Stewart
The Broadway production was a huge hit, running for 620 performances. While the play had drawn mixed critical reviews in London, it was almost unanimously praised by the New York critics, who showered it with plaudits and awards.
Leo McKern played the Common Man in the West End version of the show, but was shifted to the role of Cromwell for the Broadway production – a role he later reprised in the film. While playing Cromwell, he appeared with one brown and one blue eye (McKern of course had lost an eye in accident and wore a glass one) to accentuate his character's evil nature.
Charlton Heston played More in several versions of the play off-Broadway in the '70s and '80s, eventually playing it on the West End. The play was a success and the West End production was taken to Aberdeen, Scotland, for a week where it was staged at His Majesty's Theate. Heston considered it among his favourite roles. He also produced, directed, and starred in a film version of it (see below).
Another famous graduate of the play is Ian McKellen, whose first theatrical role was as Will Roper in a revival production in the late '60s. He would go on to play More in a later run of the show. Faye Dunaway also made her stage debut as a replacement Margaret in the original Broadway run.
An acclaimed Canadian production starring William Hutt and directed by Walter Learning was presented at the Vancouver Playhouse and the Stratford Festival in 1986. At Stratford the production was paired with a production of Shakespeare's Henry VIII, with both plays sharing many actors, and showing two perspectives on historical events.
A Broadway revival of the show, produced by the Roundabout Theatre Company, starring Frank Langella as More and directed by Doug Hughes, played at the American Airlines Theatre through December 2008.
Film and TV movies
Paul Scofield, who played the leading role in the West End stage premiere, played More again in the first of two film versions (1966), winning an Oscar in the process. The film also stars Robert Shaw as Henry VIII, Orson Welles as Wolsey, a young John Hurt as Richard Rich, and an older Wendy Hiller as Lady Alice, More's second wife. It was directed by Fred Zinnemann. In addition to the Best Actor Oscar won by Scofield, the film won Academy Awards for screenplay, cinematography, costume design, Best Director, and Best Picture.
The 1988 version starred Charlton Heston (who also directed it) as More, Vanessa Redgrave (who appeared briefly and mutely in the 1966 version as Anne Boleyn) as More's wife, and Sir John Gielgud as Cardinal Wolsey.
- Sir Thomas More ...... Charles Dance
- Master Richard Rich ...... Julian Rhind Tutt
- Master Thomas Cromwell ...... Kenneth Cranham
- Cardinal Wolsey ...... Timothy Bateson
- King Henry VIII ...... Brian Cox
- Duke of Norfolk ...... Nicholas le Prevost
- Master William Roper ...... Martin Freeman
- Lady Alice More ...... Kika Markham
- Mistress Margaret (Meg) More ...... Romola Garai
- Boatman/Steward (aka Matthew) /Jailer ...... Sam Dale
- Archbishop Thomas Cranmer/Headsman ...... Peter Tate
- Catherine of Aragon ...... Adjoa Andoh
- ^ "A Man for All Seasons Listing" InternetMovieDatabase, accessed August 23, 2011
- ^ "A Man for all Seasons: an Historian's Demur". Catholiceducation.org. 1977-12-04. http://www.catholiceducation.org/articles/politics/pg0078.html. Retrieved 2011-08-23.
- ^ Cox, Gordon (2008-05-21). "Frank Langella to be 'Man' on B'way – Entertainment News, Legit News, Media – Variety". Variety.com. http://www.variety.com/article/VR1117986277.html?categoryid=15&cs=1&nid=2563. Retrieved 2011-08-23.
- A Man for All Seasons at the Internet Broadway Database
- Free Study Guide for "A Man for All Seasons" at TheBestNotes.com
- Complete text of the play at cooper.edu
Tony Award for Best Play (1948–1975)
Mister Roberts (1948) · Death of a Salesman (1949) · The Cocktail Party (1950) · The Rose Tattoo (1951) · The Fourposter (1952) · The Crucible (1953) · The Teahouse of the August Moon (1954) · The Desperate Hours (1955) · The Diary of Anne Frank (1956) · Long Day's Journey into Night (1957) · Sunrise at Campobello (1958) · J.B. (1959) · The Miracle Worker (1960) · Becket (1961) · A Man for All Seasons (1962) · Who's Afraid of Virginia Woolf? (1963) · Luther (1964) · The Subject Was Roses (1965) · Marat/Sade (1966) · The Homecoming (1967) · Rosencrantz and Guildenstern Are Dead (1968) · The Great White Hope (1969) · Borstal Boy (1970) · Sleuth (1971) · Sticks and Bones (1972) · That Championship Season (1973) · The River Niger (1974) · Equus (1975)
Complete list · (1948–1975) · (1976–2000) · (2001–2025)
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