Theatre Reflections – Henry V (RSC) at the Barbican

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(Photo via the RSC)

Following on from yesterday’s post about Henry IV, on then to Henry V, which is of course the culmination of everything that has gone before in this tetralogy of plays. The party prince Hal, who realises to lead he must leave his past and Falstaff behind, goes on to become a King his people can be proud of and seeing this within a day of Henry IV only highlighted how far he comes in such a short period of time.

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Daniel Abbott, Alex Hassell & Dale Mathurin. Photo: Keith Pattison

Alex Hassell is excellent in this production and there’s no doubt playing all three back to back strengthens his performance. It also enables the audience to appreciate the subtleties of his portrayal. At times during Henry IV, his Hal comes across as a bit stilted, but when you see the three together, you can see the development of the man. So much about him changes, his mannerisms, physical movements and even his voice, as he grows from Eastcheap lad to soldier and leader. In the opening moments of the play, on being presented with the evidence of his claim to France, he is overwhelmed – battling to keep a façade of control, but you see it in his face; the boy still adjusting to the man he must be now.

When you compare this to the confident soldier he is at the play’s conclusion you realise how far he and indeed Hassell have come. Everything Hal has experienced results in him being a better King. The mistake the French and no doubt some in his own Court make is to see his Eastcheap escapades as a sign he will be a weak ruler. In fact it is those experiences that give Henry the insight in to his people and then the ability to rally them to victory against all the odds and Hassell’s passion during those iconic battle speeches on Sunday was the best I’ve seen him perform them yet.

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Oliver Ford Davies as the Chorus. Photo: Keith Pattison

The staging is also wonderful. Beginning and ending with the bowels of the Barbican backstage area on display, it fits perfectly with a play, which through the inclusion of the Chorus (here played by the ever-excellent Oliver Ford Davies) invites the audience to accept this is a retelling of a great tale and to use their imaginations to fill in the gaps. I still love Oliver Ford Davies picking up the crown to put it on, only for Hassell to appear and snatch it from him, to the raised eyes of the older actor! It’s a wonderful start to what is a truly wonderful production.

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Joshua Richards as Fluellen. Photo: Keith Pattison

Drawing on the strength of this ensemble all of the performances are spot on throughout. Joshua Richards is especially brilliant as Fluellen and his scene with the soldiers from Ireland, England and Scotland is a particular highlight, showing through its humour how perhaps the English viewed the other realms of the British Isles at the time. Simon Yadoo’s Scottish soldier is hilarious in that you don’t understand a single word he says!

The members of the French contingent are also very good too. Robert Gilbert is ridiculously silly as the Dauphin, flicking his hair and preening like a peacock, so arrogant in his supposed position of superiority over Henry (and indeed those on his own side). Sam Marks is again a strong presence on the stage as the Constable of France and his relationship with the Dauphin, filled with friction is brilliant to watch (particularly as they use the tactic of emphasis on syllables in words to fire barbed insults at one another).

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Jennifer Kirby as Princess Katherine. Photo: Keith Pattison

Jennifer Kirby is wonderful as Princess Katherine (or Kate as Hal calls her – quite modern and fitting in a world with our own royal Kate). Her ability to bring humour and fun through her early scenes while speaking French is impressive and her playful chemistry with Hassell in the final scene of the play is a joy to watch (indeed on Sunday, Alex Hassell almost had her in stitches). It could be a very modern scene, a testament to the brilliance of the playwright who wrote it 400 years ago!

I loved this production in Stratford-Upon-Avon and it has only improved over its Barbican run, resulting in a triumphant final fanfare yesterday, of which everyone involved should feel incredibly proud.

The King And Country productions can still be seen on their international tour. Henry IV and V first in China next month and then all four plays go to New York in March. For details and ticket information visit the RSC’s website here. Henry V will also be released in due course on DVD. My post reflecting on the King and Country cycle as a whole will follow shortly.

 

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