Theatregoers are about to witness a radical reimagining of Anne Boleyn’s final days—and Margot Robbie is making sure they don’t miss it. The Oscar-nominated actor has thrown her weight behind *1536*, a new play by playwright Lydia Ridding that frames the Tudor queen’s execution not as a historical footnote, but as a searing commentary on gender, power, and the enduring fight for women’s autonomy.

Robbie, who also serves as an executive producer, announced her backing in a statement released Tuesday, calling the play “a vital conversation starter.” She emphasized the parallels between Boleyn’s 16th-century downfall and the systemic challenges women face today. “Women are still having the same conversations,” she said. “About who gets to speak, who gets to lead, and who gets silenced. This isn’t just about history—it’s about us.”

The production breaks from traditional historical dramas by casting Boleyn’s final months as a series of intimate, almost cinematic vignettes. Rather than a grand spectacle of Tudor intrigue, the play focuses on the voices of three working-class women in Essex who drink, gossip, and debate the queen’s fate—mirroring how ordinary women today process systemic injustice. The script deliberately avoids romanticizing Boleyn, instead portraying her as a flawed but fiercely intelligent figure whose downfall was engineered by the men around her.

Critics who’ve seen early previews describe it as “unflinching” and “theatrical lightning in a bottle.” The Guardian’s theatre critic called it “a rare play that doesn’t just retell history—it weaponizes it.” The production’s crowdfunding campaign raised £1.8 million, 30% above its initial goal, with backers citing its bold approach to gender politics as a major draw.

Ridding, who has written extensively about women’s roles in early modern drama, said the play was born from her frustration with how Boleyn is often reduced to a tragic romantic figure. “She wasn’t just a victim of Henry VIII’s whims,” Ridding said. “She was a strategist, a survivor, and ultimately a woman who paid the price for daring to wield power in a man’s world.” The script weaves in anachronisms—characters reference modern feminist slogans and current events—deliberately blurring the line between past and present.

Ticket sales have surged since Robbie’s endorsement, with the entire run now 85% sold out. The Fortune Theatre has added extra performances, but organisers warn that demand may outstrip supply. “We’re not just selling tickets,” said a theatre spokesperson. “We’re selling a movement.”

The play’s run coincides with a wave of feminist theatre productions in London, but *1536* stands apart for its uncompromising tone and high-profile backing. Robbie’s involvement has drawn comparisons to her role in *Barbie*, where she similarly used a blockbuster platform to critique patriarchal norms. Industry insiders predict the play could spark a broader conversation about how historical narratives are reshaped for modern audiences.

For those eager to experience it, the production runs through June at the Fortune Theatre, with matinees on Wednesdays and Saturdays. Organisers have hinted at a potential tour next year, though no dates have been confirmed.