As I drove home from the theatre tonight, the song playing on my radio was 'Heads Will Roll' by the Yeah Yeah Yeahs, with the lyrics, “Off with your head, dance till you’re dead, heads will roll.” I could not think of anything more appropriate as an accompaniment to the story I had just witnessed unfold on stage. The fate of Robert Southwell, a distant cousin of William Shakespeare, is one of the most harrowing episodes of Elizabethan history, and this remarkable production of Shakespeare’s Cousin brings that story to life with intelligence, passion and emotional intensity.
Southwell left England for Europe at the age of fifteen in order to pursue his vocation in the Roman Catholic faith. He later returned to England as a Jesuit priest during a period of profound religious turmoil under the reign of Elizabeth I. At a time when Catholicism was viewed as a threat to the Crown, priests such as Southwell lived a dangerous existence, relying on loyal families and hidden priest holes to evade capture.
One of the most feared figures of the period was Richard Topcliffe, the notorious priest hunter and torturer employed by Queen Elizabeth I. Tonight, he was played by a wonderfully odious Robin Kingsland. Topcliffe eventually tracks down Robert Southwell after six years of evading capture. Kingsland throws himself wholeheartedly into the role. At times he comes across as a classic Shakespearean villain, perhaps with a touch of deliberate overacting, but this is exactly what the role requires. His Topcliffe is a man full of self-importance, convinced of his own righteousness and untouchability. Topcliffe positively revels in the fact that he has finally captured the pious and self-effacing Southwell, played in this performance by Danny Solomon. Solomon delivers a wonderful performance, and much of its power comes through his physicality, facial expressions and movement rather than words alone. He is a pleasure to watch because he evokes such sympathy from the audience. As the story unfolds, it becomes almost unbearable to witness the suffering inflicted upon him. Southwell’s quiet dignity and steadfast faith stand in stark contrast to Topcliffe’s cruelty.
What makes Kingsland’s performance particularly effective is that Topcliffe is not simply portrayed as the bad guy. You can see many facets of a very clever man who uses manipulation, deception and occasional moments of apparent kindness to try and break Southwell’s resolve. Kingsland relishes these moments, allowing the audience to see the true monstrosity of the character. The play suggests that the real treachery of the period lay not in theological differences but in the ruthless pursuit of power by ambitious men seeking influence in Elizabethan England.
Into Southwell’s cell in the Tower of London arrives Sir Oliver, played by Alex Townson. Initially, we are led to believe he has gained permission to visit Southwell as a Protestant preacher intent on questioning and provoking the imprisoned priest. However, there is far more to the encounter than first appears. Townson gives a wonderful performance as Southwell’s cousin, William Shakespeare. The two men are delighted to be reunited, this part is fictional, but believable as it seems that Southwell and Shakespeare were known to each other with a shared family connection.
Townson’s delivery reminded me of Joseph Fiennes in Shakespeare in Love, although without the humour. He moves across the stage with the confidence and rhythm of one of Shakespeare’s own players, delivering monologues with elegance and authority. Through these exchanges, the audience is left pondering one of the enduring historical questions: was Shakespeare himself a Catholic, or at least sympathetic to the old faith? The play does not attempt to provide definitive answers, but it certainly gives the audience plenty to think about.
These three actors are at the heart of the production, and all of them deliver exceptional performances. They work beautifully together while also standing out as individuals. This is traditional acting at its finest, rooted in British history and heritage. There is nowhere to hide in a production like this, and all three rise to the challenge magnificently. While the subject matter is dark, the play remains thoroughly engaging throughout. There is an almost unbearable sense of inevitability as Southwell moves towards his tragic fate.
Knowing the outcome does not lessen its impact. If anything, it makes the journey all the more poignant. Finally, as the play reaches its conclusion and Southwell’s torture and eventual execution loom large, you are left with the loss of an innocent man. So, the lyrics playing in my car on the journey home couldn’t have been more poignant.
This is a remarkable play that entertains, educates and leaves the audience asking questions long after. It has certainly left me wanting to explore the historical facts surrounding this episode in greater detail. Written and directed by Jonathan Moore, following a story recommendation, it succeeds both as a historical drama and as a thought-provoking piece of theatre.
A few other notable mentions should go to Max Bancroft, Associate Producer and Assistant Director; Gabriel Burns for lighting and sound; Violet Gausden for set and costume design; and Deb Watson, specialist prop maker, who was probably responsible for the disturbingly convincing torture chair and implements used during the production. Many others, along with the White Bear Theatre itself, will have worked hard to bring this production to the stage, and they deserve recognition.
I suspect this play has a life beyond its current run and would not be surprised to see it performed at fringe theatres around the UK in the future. If you are a fan of Tudor History, Shakespeare, or simply excellent acting, then I would strongly recommend going to see it.
Note - Warnings – references to torture, pain and rape.
Running from the 10th – 28th November.
https://www.whitebeartheatre.co.uk/whatson/shakespeare%E2%80%99s-cousin?b=book
Reviewed by Penny Curran
On: 12th November 2026
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