Barbican Theatre 7 November – 30 December. Reviewed by Claire Roderick
Henry IV is dead and his son is now king. Henry wages war in France, culminating in the Battle of Agincourt where, outnumbered and disheartened, the English claim a stunning victory over the French.
When Alex Hassell storms on stage to whip his crown from Oliver Ford Davies’ hands before any words are spoken, the tone of the piece is set. The audience is giggling as Ford Davies, as Chorus begins his prologue. This is a play about war and politics, but here it is told with humour, warmth and humanity.
Ford Davies’s Chorus is the only character dressed in modern clothes, and he sets the scene or moves the story along with captivating ease. When he tells the audience to work their thoughts to imagine the fleet’s’ journey to France, or the carnage of the battlefield, that is exactly what we have to do. Stephen Brimson Lewis has created a simple yet evocative set. Gothic arches are projected onto bead curtains to create wonderful interiors of palaces, and most outdoor scenes are played against a dark background and cloudy sky – focussing all the attention onto the actors.
Alex Hassell is a magnificent Henry. At first there are still remnants of the fickle youth, but as the play progresses he subtly grows stronger, surer and more regal. Hassell plays Henry’s self-doubt and guilt beautifully – his voice rises in pitch and cracks, and then he visibly pulls himself together to carry out his duty. His delivery of the first “once more into the breach” line drew a huge laugh. A wonderful idea, played exquisitely.
There isn’t a weak link in the cast. The remnants of Falstaff’s band of reprobates are thankfully not overplayed – with Pistol as a middle-aged biker/Fagin. It shouldn’t work, but Antony Byrne expertly draws out the underlying malice in the character, making the leek scene even more satisfying.
The contrast between the English and French courts – the English in earth tones and (give or take a few traitors) straight talking and professional, the French in blue and a bunch of sycophantic fops – allows Robert Gilbert as the Dauphin to have lots of fun with his effete posturing and petulant outbursts. The day after the tragic events in Paris, laughing at all of Shakespeare’s anti-French jokes was a little uncomfortable at first, but when the treaty is finally agreed and the cast pray for peace in England and France, their amens were echoed loudly by an audience member. Hassell, in character, looked out to the audience, smiled sadly and repeated amen.
The battles take place off stage, with few sound effects, but this serves to intensify the impact of the characters’ lines as they run on and off. This is where we meet the Celts. These are fantastically over the top – the Irish officer is a smoking mad bomber, the Scottish officer insanely incoherent, and the Welsh officer is a bag of wind. Joshua Richards delivers Fluellen’s lines with great control and Obioma Ugoala’s reactions as Gower make them a super double act between the more serious action.
When Henry moves among the soldiers incognito, Shakespeare’s lines about the responsibilities of leaders sending men to war still ring true today. The victory is not celebrated, but the dead are remembered in a haunting song performed by Helena Raeburn and the cast.
As Henry woos Katherine to seal the peace treaty, Hassell and Jennifer Kirby are at first deliciously awkward and frustrated. At times it is as if Lt. George from Blackadder is on stage. The happy ending is summed up by Jane Lapotaire as Queen Isobel – gliding around the stage like true royalty – and Ford Davies – a voice that you could listen to all day.
Gregory Doran’s production is the best version I’ve seen. There is no glorification of war, the lesser characters become more than the ciphers they remain in certain productions, and the dialogue is delivered clearly and without fuss. The humour running through the play is dealt with brilliantly – some scenes that have left me cold before had me in stitches, and the long running time simply flew by.
This is a tremendously entertaining and powerful production, beautifully played by the entire company. If you only see one play this winter, make it this one.
(But you’ll probably want to get tickets for Henry IV as well after this!)