Set inside Reading’s claustrophobic Abbey Ruins is a plain stage backed by an abstract large curved structure, looking a bit like part of a skateboard park, which is used extensively throughout the production, giving access to a higher level area. Henry’s body is thought to be buried in the ruins, possibly beneath the stage.

Henry and his entourage burst onto the stage, bloodied, brandishing their swords and singing triumphantly in Latin. The energy and exuberance are typical of what we are going to see over the next two hours.

Henry’s story, written by local writer Beth Flintoff, is a complicated one involving the power struggles among the family of William the Conqueror after his death near the start of the play. (A family tree in the programme would have helped!) The problems arise because on William’s death Henry’s older brothers Robert Curthose and William Rufus inherit Normandy and England, leaving Henry with money but no land.

There are strong performances from all the actors, with most of them playing two parts. Buying a programme will certainly help to make it clearer who’s who and help Rabble’s finances.

After William the Conqueror’s death in 1087, William Rufus became king and wow! Director Hal Chambers describes him as ‘exuberant’ and that’s putting it lightly. A thoroughly unpleasant character that you wouldn’t want to get on the wrong side of who comes to a sticky end in 1100. A delightful performance by Gabrielle Sheppard.

Toby W Davies as Henry vows to reunite England and Normandy when he becomes king in 1100: “I would bring peace. It will be terrible for a while but I will bring peace”. It’s a long time coming, and family deaths take their toll on Henry who becomes harder and more bitter. This was a well-nuanced performance that brought out Henry’s good and bad sides as well as his triumphs and suffering.

Amy Conachan was Adela, Countess of Blois and Henry’s sister. A feisty, no-nonsense performance and you could see how she had manged to rule Blois for many years in a man’s world.

Mark Middleton was the rather wet Robert Curthose, described by the Director as a ‘loveable loser’ and Middleton also played Ranulf Flambard, the fawning assistant to Rufus.

Greg Barnett was Robert De Belleme, another nasty one, played with panache. Georgie Fellows was very impressive as Edith and Mabel. Joseph Black and Anjelica Serra were good in the remaining major parts.

Beth Flintoff says “Women don’t get much of a look-in with 11th Century chronicles” so she has included significant parts for women in this play.

Director Hal Chambers has brought his large, well-rehearsed cast into a fast-paced, absorbing and entertaining production, enlivened by impressive choreography from Movement Director Gareth Taylor.

A top class show and a great introduction to the complex lives of the early Norman kings.

After Reading, Henry I goes to Winchester and London for short runs in July.

PAUL SHAVE

Chaos and brutality in Reading Abbey Ruins

Rabble Theatre’s revival of their 2017 biopic of the life of Henry I perfectly captures the chaos and brutality of Medieval England and Normandy, a time in which both countries were violent playgrounds for rich French nobles to squabble over their ambitions.

The play’s powerful opening sets the scene beautifully with the full ensemble singing Mea Culpa, the Latin emphasising the themes of Christianity and the divine right of kings, while the meaning (it’s my fault) hints at Henry’s rationale for the building of Reading Abbey in 1121 – as he sought forgiveness for the death of his children and mutilation of his grandchildren.

Somehow, within this tale so full of blood and backstabbing, plotting and slaughter, the gifted ensemble cast, expertly directed by Hal Chambers, bring levity and power in equal measure.

Mark Middleton’s Robert Curthose (William I’s eldest) is a well-pitched buffoon; William Rufus (William I’s successor), as portrayed by Gabrielle Sheppard, is a vamping, flamboyant narcissist; and Rabble artistic director Toby Davies approaches Henry with balance and humanity.

This trio of dysfunctional siblings are assisted by Robert De Belleme, whose notorious cruelty is thought to have led to the legend of Robert the Devil, played with relish by Greg Barnett.

Joseph Black’s Roger of Salisbury remains affably pious, a witness to some of Henry’s greatest abuses, his quietly poised performance adds emotional weight to many key moments.

The history books are short on detail when it comes to the lives of its women, but here they are given the strength behind the crown, as Amy Conachan’s canny Adela of Blois puts it: "The men go to war, we make the future." She says this to Agnes of Ponthieu, whose forbearance is portrayed with exquisite skill by Anjelica Serra. Meanwhile, Georgie Fellows’ Edith (Good Queen Maud) is a savvy twenty something, acting as fearless regent for her largely absent, though affectionate husband.

The most effective dramatic moments come when the ensemble is used in large-scale set pieces, most notably in William II’s fateful hunt and the sinking of The White Ship.

Rabble Theatre’s Henry I is a far cry from dry historical drama, in the hands of writer Beth Flintoff it is a gripping human story, beautifully structured, excellently researched and crafted with care and empathy.

As the epic tale draws to a close, the company sing a hymn, seemingly to the very walls that surround us, their voices echoing down through history in this full house of miracles.

The play runs until Saturday, July 1, before touring to Winchester and London - don’t miss it!

TONY TRIGWELL_JONES