Stunning performances from Mark Gatiss and Douglas Henshall make 55 Days the slickest history lesson you'll see this year
Howard Brenton's latest play, 55 Days, explores the English Civil war of 1648. Focusing on the deposition of King Charles I by Oliver Cromwell, Brenton, aided by director Howard Davies, analyses the meaning of kingship, through the personal encounters between Cromwell and Charles.
Cleverly using costume to point at the ways in which absolute monarchy was becoming an anachronism in 17th century England, Davies and designer Ashley Martin Davis clothe the cast in austere 20th century costumes. But Charles I wears his 'historic' regalia complete with wig and staff.
Davies and Brenton slickly present the altercations between the government and King through a courtroom based drama, in a set bedecked with items you might find in a 1940s wartime cabinet office. Here they send a meek lawyer in the place of Cromwell and his cronies to try the King for his endless list of crimes.
However, the play is more of a cerebral exercise than an insight into the machinations of its two protagonists. Only during one confrontation over a bottle of wine, where Cromwell visits Charles I in his cell, do we really see the psychological conflict between the two opponents, who have far more in common than either of them initially realise.
Mark Gatiss' deft performance provides us with a dignified Charles, whose conviction in his own divine right of rule is unshakable, even until his brutal execution. He is the embodiment of calm, intellect and patience, in stark contrast to his foes, who are intent on overthrowing his absolute power. Gatiss's skill is to weld this self belief with a humility that eschews monarchical arrogance.
Douglas Henshall steals the show as Cromwell, evoking sympathy despite his ruthlessness, through his belief that he is saving the nation by deposing Charles. In stark contrast to Charles I, Henshall's Cromwell seems to ooze masculinity from every pore, strutting across the stage with barely contained fury and determination. In spite of the restrained tone of the text, he succeeds in convincing the audience he is a force for good and his usurpation of the monarchy is justified.
Brenton's dialogue is saturated with fact and detail, which at times means that 55 Days can feel like more of a history lecture than a play. It is without question a meticulously written piece, but at odd moments I did feel as if my GSCE history teacher might make an appearance on stage to tell me to stop slouching and pay more attention. However, all in all, much thanks to Howard Davies excellent direction, this is an intelligent and slick production, with two performances at its core that outshine most I have seen this year.
55 Days runs at Hampstead Theatre until 24th November
Image by Catherine Ashmore
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