1536 Review: you'll lose your head for this formidable production

13 May 2026 I 19:30 I Ambassadors Theatre, London

⭐⭐⭐⭐⭐ I PR - Invite

Tonight was my first visit to London's Ambassadors Theatre, for the West End transfer of Ava Pickett's sensational 1536, directed by Lyndsey Turner and produced by Margot Robbie's production company LuckyChap Entertainment. It feels particularly fitting that a story so committed to reclaiming women's voices is shaped by female writers, directors and producers.

Originally premiering at the Almeida Theatre in 2025, the play returns to central London for a limited run until the 1st August. Those looking for a pre-show tipple can find a pop-up bar, transformed in the spirit of 1536 and aptly named The Dirty Neck, complete with an emblem referencing Anne Boleyn. The production extends its world beyond the stage, including plenty of well-judged merchandise (I couldn't resist a pin and magnet!).

Given the title, 1536 reclaims women's narrative and victimhood within a medieval context, shifting the focus onto those side-lined by history. While Henry VIII and the arrest of Anne Boleyn set the scene, they serve to frame the lives of three best friends living in Essex. Pickett's script relies not on the monarchs who defined the era, but rather three ordinary women and the events that set off a powerful and deeply human chain reaction.

As soon as you step inside the auditorium, Max Jones' striking design is already exposed. A minimal cornfield that is parched and in desperate need of water, setting an unnaturally warm May. The space remains unchanged throughout, yet is used with impressive versatility: a meeting place for lovers and friends, the backdrop to a wedding, and a site for harrowing acts to take place.

Jones' period costume designs feel authentic and grounded. Opposed to elaborate Tudor-wear, the women are in ordinary, everyday dress, which only strengthens the theme of social standing. Led by Jack Knowles' lighting, a screen behind the set alters in colour to reflect the passing sky: clear blues, burning sunsets and deep, foreboding night. Between scenes, the stage falls to black, punctuated by a white ring encircling the space. Creeping medieval music (sound design by Tingying Dong) enhance these beautiful and menacing transitions, plunged into darkness and heightening our sensory immersion.

The five-member cast are phenomenal. The three Essex friends: Jane, Anna and Mariella are brought to life by Liv Hill, Siena Kelly and Tanya Reynolds (whom I recently admired in The Other Bennet Sister). Jane is conservative and less worldly, while Mariella, a midwife, is headstrong and witty, quietly navigating recent heartbreak. Anna meanwhile, is unashamedly herself, to seemingly embody a more modern woman, uninterested in marriage and intent on living freely. Crucially, 1536 never lets us forget the danger of such independence in this period, where women could be markedly punished for defying expectation.

Tensions are established from the outset, as Anna is introduced in intimacy with a man named Richard. The two male performances of Oliver Johnstone (Richard) and George Kemp (William) are equally compelling, each bringing a distinct energy with their presence. Johnstone's character mirrors Henry VIII in his infatuations to Anna (a name echoing Anne), as he is constrained by the expectations of medieval men. His initial love sours into something restless and embittered, projecting his turmoil onto the women around him.

Pickett's writing is one of this production's greatest merits. It is quick, witty and punchy, balancing the darkly comic laugh-out-loud moments with the deeply emotional. What's particularly striking is its use of modern and accessible dialogue against a historical backdrop. Jane, Anna and Mariella confront chauvinist attitudes that, aside from the threat of execution in the UK, still oppress women today.

One minor observation lies in the performer's accents, which occasionally waver into something closer to Australian than Essex. Only a small distraction, though noticeable enough in multiple scenes. I expect this could be ironed out further into the run, whether these are unintended slips or an unusual linguistic overlap (perhaps the influence of Margot Robbie!).

The pure vigour of 1536 lies in its ability to reframe a universally well-trodden piece of history into something immediate, human and pertinent. Combining contemporary and Tudor theatrics, this 1hr 50m (no interval) display of control and female autonomy belongs in the West End, as thought-provoking as it is entertaining.

Further Information & Tickets: https://www.1536onstage.com/