1549 - The Story Of Kett's Rebellion
'It's 1549, but it could be any time'. Symbolic and prophetic words that are heard in the opening number of Simon Floyd's 1549 - The Story of Kett's Rebellion. Originally co-written with Karl Minns (one half of Norfolk's iconic comedy duo The Nimmo Twins), and performed two years ago as an outdoor show by drama collective The Common Lot, 1549 now revives its panto-documentary style and a cast of just five to recount the events of yeoman farmer Robert Kett's courageous fight to reverse the enclosures of common land. The show begins its 'rural tour' within the city where the peasants originally lay siege, and I am at Norwich Arts Centre, a de-consecrated church dating back to the fifteenth century, for its first indoor performance.
The story of Kett's Rebellion may not be as well-known beyond the boundaries of Norfolk, but the events of 1549 deserve wider recognition, taking on renewed relevance alongside a 21st century 'global economy' and a proletariat struggling to achieve fair wages and home ownership. Like its previous outdoor version the show is still packed with local 'in-jokes', topical satire, and pantomime-style slapstick and comedy. 1549 goes out of its way to appeal to a neighbourhood audience, but the message remains political and hard-hitting. This is much more than just a local show for local people.
The cast are terrific in the versatility and distinctive style with which they individually execute the roles of several distinct and disparate characters, each switching between landowner, peasant and figure of authority without once leaving the audience confused or lost. The entire performance remains homogeneous and reassuringly followable.
Take, for example, Chris Dickerson, who takes in his stride the dramatic contrast between Sir John Flowerdew (a landowner), Cayme (one of the more 'bolshy' of the rebels), and John Dudley (a regal representative, the Earl of Warwick). Or Paul Preston Mills, who is as empathic as former soldier Miles as he is comedically detached as Thomas Codd (Mayor of Norwich) and derangedly evil as William Parr, Earl of Northampton. Hattie Ashton is superb, switching seamlessly between corn merchant's daughter Edith Flotman, Bartholomew Butler (a media-savvy York herald) and a puppet man in charge of the city gates. She traverses pathos and comedy with an assured presence. Joey Herzfeld becomes downtrodden labourer William Faulke and pantomime villain Gilbert Dethick with consummate ease. And let us not forget Eve Pandolfi who, with empathy, charisma and comedy timing wows us as both narrator and as medieval champion of sexual equality, Ms. Augustine Steward (long-suffering Deputy to Mayor Codd).
This is a show that is still flexing its collective muscle. It already features a strong musical score, bringing in local singers from each performance location. It has a focussed historic narrative, harbouring a message that resonates with contemporary appeal. And it has a sharp script that can be tweaked and adapted for each audience. With a little more work, a national tour is the next logical step, and then possibly beyond. This is a story that could appeal to Hollywood, though with the risk of destroying this show's unique blend of local humour and regional identity. Just remember what they did to Robin Hood and Nottingham.
