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By Robert Bolt

A guy for All Seasons dramatises the clash among King Henry VIII and Sir Thomas extra. It depicts the disagreement among church and country, theology and politics, absolute strength and person freedom. through the play Sir Thomas More's eloquence and persistence, his purity, saintliness and tenacity within the face of ever-growing threats to his ideals and family members, earn him prestige as certainly one of glossy drama's maximum tragic heroes.

The play was once first staged in 1960 on the Globe Theatre in London and used to be voted New York's top overseas Play in 1962. In 1966 it used to be made into an Academy Award-winning movie by way of Fred Zinneman starring Paul Scofield."A guy for All Seasons is a stark play, sparse in its narrative, sinewy in its writing, which confirms Mr Bolt as a real and stable playwright, a strength in our awakening theatre." (Daily Mail)

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Are you going to pray for a miracle? More There are precedents. Wolsey Yes. All right. Good. Pray. Pray by all means. But in addition to Prayer there is Effort. My effort’s to secure a divorce. Have I your support or have I not? More (sits) A dispensation was given so that the King might marry Queen Catherine, for state reasons. Now we are to ask the Pope to – dispense with his dispensation, also for state reasons? Wolsey – I don’t like plodding, Thomas, don’t make me plod longer than I have to—Well?

Jonathan Swift (1736) Robert Bolt Robert Bolt (1924-1995) was born at Sale, near Manchester, the son of a shopkeeper. He was educated at Manchester Grammar School and continuing at Manchester University he graduated in history in 1949. He then became a schoolmaster and also started writing radio plays for the BBC before achieving his first London theatrical success with Flowering Cherry (1957). Bolt’s reputation rests largely on his historical dramas, all of which involve confrontations of differing values that have altered history.

The references to ships, rivers, currents, tides, navigation, and so on, are all used for this purpose. Society by contrast figures as dry land I set out with no very well formed idea of the kind of play it was to be, except that it was not to be naturalistic. The possibility of using imagery, that is of using metaphors not decoratively but with an intention, was a side effect of that. It’s a very far from new idea, of course. Whether it worked I rather doubt. Certainly no-one noticed. But I comfort myself with the thought that it’s the nature of imagery to work, in performance at any rate, unconsciously.

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