Gareth's Culture and Travel Blog

The story of the first global spy network 400 years ago is ripe for dramatisation, and the Sam Wanamaker Playhouse is the perfect place to stage it.

Sir Francis Walsingham was Elizabeth I’s spymaster. He had an international network of spies and double-agents. He spread false rumours on a wholesale scale. He sanctioned torture and execution. The master of manipulation. We don’t know whether he was doing the (possibly paranoid) Queen’s bidding or whether he was manipulating her, and the play suggests he may in turn have been manipulated himself.

Anders Lustgarten’s play, directed by Mathew Dunster, doesn’t hold back on the profanity or violence, even humour and cheeky modern references, which is where he shoots himself in the foot. Its flippancy hijacks the drama and the Queen’s language, perhaps intended to change our perception of ‘good Queen Bess’, just feels childish and tacky. Though they are funny, the cheap quips about our popularity in Europe and success at tennis, attempts at contemporary resonance, don’t help. It’s such a shame, because there’s a great story screaming to get out.

Designer Jon Bausor has created a brilliant two-story backdrop by putting screens at the front of the gallery that match the lower half, and inserting lots of drawers for Walsingham’s files. Apart from some light from the corridors, it is largely candlelit, though with fewer than usual, so its often very dark, in keeping with the story. I loved Alexander Balanescu’s music, played by a trio behind an the opaque left side of the gallery.

Only three actors play a single role, the other six playing between two and four, and this is sometimes confusing, particularly in the dark! Tara Fitzgerald has great presence but her profane dialogue weakens the characterisation. Walsingham is a big role, and he goes on a big journey, and Aidan McArdle handles it well. It’s a fine supporting cast.

A great idea, the perfect space, but for me misguided in writing and execution.