King Henry IV Part II

Royal Shakespeare Theatre, Stratford upon Avon

*****

Written by William Shakespeare

Directed by Greg Doran

Antony Sher

Greg Doran’s Henry IV Part 2 is a world class interpretation of a play that is at once a historical comment upon England, a bittersweet study on the frailities of age and a beautiful exposition of the human condition. Picking up from Part 1 with Hotspur’s death at Shrewsbury, the play dwells upon the waning of Henry IV’s reign, the revolutions that are continually afoot and the (now separate) paths of young Hal and Falstaff.

In the only obvious nod to the modern era, Doran opens the play with Antony Byrne's Rumour, in jeans, imploring us to open our ears. It is the only overtly stylistic nod to modern times, though such is the wit of Shakespeare's verse that many dramatic creations of our times clearly draw their inspiration from the Bard.

King Henry’s appearances in Part 2 are less frequent, he is an old man now, but Jasper Britton’s interpretation of the King is all the sweeter for being so much more condensed. His “uneasy lies the head that wears the Crown” speech being a beautifully focussed insight into the burdens of statesmanship. Britton is amongst excellent company on stage. Alex Hassell’s Hal is every inch the King to be, well weighted in addressing his father’s demise and steeled with the cold aloofness of absolute power as heartbreakingly he ultimately scorns Falstaff, his former friend. 

It is in his depiction of England and its natives though that Shakespeare gives us an endearing social comment. The elderly Justices Shallow and Silent, exquisitely defined by Oliver Ford Davies and Jim Hooper, seeing out their days in idyllic Gloucestershire, could so easily be the inspiration for television's Last Of The Summer Wine with just a hint of old Mr Grace thrown in for good measure. Ever considered what classical sources may have led to the creation of Albert Square's Angie Watts and Dot Cotton? Well get yourself to Stratford where Paola Dionisotti's marvellous Mistress Quickly presides over her brothel/tavern in a style that as much suggests EastEnders as Eastcheap.

And presiding over this carnival of characters is Antony Sher's Falstaff. The glory of his Part 1 excellence is only polished in this sequel. Sher extracts painful pathos as he acknowledges he is too old to sate the flame of his desire that burns for Nia Gwynne’s young whore Doll Tearsheet. He frequently owns the stage with his oratory, the soliloquy in praise of sherry being one of the evening's many delights. At the play's close Falstaff, full of bombast, is snubbed by the King in front of his old friends the Justices to whom he had promised access to the Court. The pain of this humiliation, so brilliantly penned by Shakespeare, in Sher’s hands is tragi-comedy defined. As he attempts to shrug off his own shrugging off by the King, one can sense more than a hint of Del Boy telling Rodney not to worry, "next year, we'll be millionaires". The relevance of the prose is timeless

Again the RSC surpass themselves. Dominic Dromgoole recently commented that some countries "do Shakespeare" better than us and occasionally he may be right. But this production cannot be bettered. The stagecraft on display, from both cast and creatives is perfection. Rarely is a classic work performed with such wit, freshness and vitality.

Runs until 6th September 2014, then tours.

King Henry IV Part I

Royal Shakespeare Theatre, Stratford upon Avon

****

Written by William Shakespeare

Directed by Greg Doran

Antony Sher and Alex Hassell

It has often been mooted that Henry IV Pt 1 should arguably have been re-named Sir John Falstaff, such is the impact of the legendary bon-viveur upon the history play and Greg Doran’s production at the Royal Shakespeare Theatre only endorses the argument.

Commencing with the spirit of Richard II gazing down from the gods (a robed and long-haired David Tennant lookalike) we find Jasper Britton has assumed the mantle of Bolingbroke, opening the play as the newly crowned king. Britton’s performance is assured and he convincingly presents first, as a father initially struggling with his son’s errant Eastcheap ways and later as a monarch grappling with the destructive forces at work amidst his realm.

Alex Hassell is Hal, giving a performance of the Henry V (to be) that defines the young royal’s energy, vivacity and nobility far better than any recent stage portrayal of the warrior king. The robbery at Gadhill and Hal’s banter with Sir John is royal japery at its finest, yet Hassell also defines both mettle and honour in the play's later scenes, defending and loyally supporting his father. The young actor displays astonishing talent and of his generation he is unquestionably “one to watch”. Matched against him is Trevor White’s Hotspur. Envious of Hal’s preferment and bearing a chip on his shoulder, Hotspur is one of Shakespeare's more unforgiving roles. White’s energetic effort is hampered by an overplayed chip, trying just a little bit “too hard”.

The jewel in this production’s crown however is unquestionably Antony Sher’s Falstaff. A corpulent, drunken profiteer, as likely to be found in the arms of the pox-ridden Mistress Quickly (a wonderfully be-scabbed Paola Dionisotti) as to be gaming with the Prince of Wales. Sher relishes Falstaff’s every moment and that his sozzled patrician Falstaff is so at ease with the Eastcheap cutpurses only adds to the color of his character. With a perpetually unpaid bar bill and the quickest of wits, Sir John precurses the latter day comic creations of Arthur Daley or Norman Stanley Fletcher, each a quintessentially lovable rogue. One of our finest actors, Sher’s “What is honesty?” soliloquy is an outstanding delivery, with so many of his lines being pathos-laden comedy gold. A good comic must master timing as well as voice and physical presence, Sher nails the lot and one is unlikely to see a finer Shakespearean performance this year.

Other notables are Joshua Richards with a wonderfully pagan Owen Glendower and Simon Thorp's Rickman-esque Lord Chief Justice.

The RSC is again at its creative best. Terry King elicits breathtaking fightwork (Sean Chapman’s scottish Douglas menaces with the mace) whilst Tim Mitchell’s lighting and Martin Slavin’s sound design effectively suggest both location and time. A finely produced treat, Greg Doran’s interpretation is thoughtful, perceptive and hilarious.

Plays to 6th September 2014, then tours.