It’s a solemn command from Firebrand’s first assistant director Lydia Currie: “When you bow to the king, bow straight down,” she announces. “Don’t look at him; you’ll get your head cut off.” The fearsome monarch Currie is referring to is Henry VIII, and on this particular day, Jude Law’s king is in an ax-swinging mood.
The background artists on Karim Aïnouz’s set comply to orders and stare down at their toes. Before them, seated on thrones arranged on a raised plinth, is the potentate in question, and Katherine Parr, his queen.
Henry’s had a few wives. Katherine is his sixth and every time she opens her mouth, she’s in mortal danger. How does she survive?
That’s the burning question asked by Firebrand, which Aïnouz describes as a “psychological thriller”. History tells us that Parr outlived her husband, but little is known about Parr after that, though she was the first woman in England to have a book published in her own name.
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