Rona Munro drags tension from every scene, substance from every idea and hope where none should be, in this gripping queer drama
What did the untold queer love stories look like in the Tudor period? How do you reconcile the greed of god fearing men with your faith? Will there be shortbread in heaven?
These are just some of the questions posited by writer Rona Munro in James V: Katherine, the fifth in an award winning series of plays. The play, based on a true event, speculates on a private conversation between King James and Katherine during her 1534 trial for heresy, with Rona adding a queer love story allowing us to explore interweaving themes of queer love, faith, and the political climate of Scotland at the time. A lot to explore perhaps, but Rona skilfully strides between the topics in a captivating, tense and beautiful drama that toys with your emotions.
The show explores the plight of a romance between Katherine Hamilton (Catriona Faint) and Jenny (Alyth Ross making her professional debut), alongside Katherine’s brother (Benjamin Osugo) Patrick’s execution for heresy after critiquing the Roman Catholic church, leading Katherine to debate following his example. While simple, the plot follows the character’s internal conflicts that challenge the audience to think about the plight of the characters.
Rona respects the audience and asks them to empathise with the compromises everyone must make in a fragile and tumultuous period of Scottish history. Even James V (Sean Connor) manages to squeeze sympathy from a stone, both from Rona’s writing but also Sean’s charismatic and flamboyant showing as the twenty one year old king, struggling to maintain political stability amongst the growing criticism of the Roman Catholic church. As the characters struggle to find peace they unearth contradictions in their faiths, their loves, and their place in a society unfit for their happiness.
The conversations never bore although so much ground is covered from Patrick’s religious struggle, to Katherine’s captivating romance; yet the pacing always allows just the right amount of time. The opening scene does not enthral, succumbing to repetitiveness in the first 15 minutes, and wedding logistics that do little to interest or introduce us to Tudor society or the characters. It’s worth noting that Benjamin’s performance is still captivating in this imperfect opening, he expertly plays the awkwardness of a priest who is struggling to decide whether it is his moral duty to die for his beliefs.
The queer love story that the show revolves around is incredibly touching and provokes us to wonder about the untold queer love stories. This may be a fictional addition but its inclusion forces us to consider the contradictions that were present and still are within our collective imagination of queer life in Tudor society. Catriona and Alyth are outstanding throughout with the former providing a perfect performance, her range in facial expressions and body language sells the experience of a woman who in one moment is lost in love and in another tortured by possible martyrdom.
The production throughout the show is minimalist, letting the acting take all the focus. The costumes are sleek, elegant and create powerful silhouettes. The overwhelming darkness in the costumes draws all focus to the actors’ faces: every grimace, hallowed expression and glib smile. While the women dress in simple dresses, the men feature more layers and detail, James V has the most interesting of them all donning raver sunglasses and black mesh vest, this outfit would fit in a Berlin rave as easily as it does on stage.
Rona drags tension from every scene, substance from every idea and hope where none should be, in a gripping drama and charming queer romance that will move and challenge you.
