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.

Richard II

Royal Shakespeare Theatre, Stratford Upon Avon

To be broadcast live to cinemas on 13th November

*****

Written by William Shakespeare

Directed by Greg Doran

David Tennant

Greg Doran’s Richard II takes a complex Shakespearean political conundrum, strips it down to the Bard’s beautiful verse, assembles a platinum cast and presents the tale in a form that is accessible, exciting and at times deeply moving. David Tennant is Richard, thoroughly earning the star-billing of the title role and his name alone will ensure that the production sells out at the Barbican. (It is already sold out at Stratford.) The marketing impact of “brand Tennant” powerful though it is, almost unfairly masks the underlying genius of this production, as Tennant and his supporting company are simply outstanding.

The play opens to a beautiful projection of Westminster Hall where we find Jane Lapotaire, Gloucester’s widow, mourning at her husband’s casket. It’s a tiny role, sweetly executed by this national treasure of an actress (why has she not yet been honoured?) and sets the tone for the themes of vengeance, retribution and restitution that are to run through the piece. Michael Pennington plays her brother in law John O Gaunt wise and politically astute enough to have suspected the King’s complicity in Gloucester’s death. Every word that Pennington speaks is measured and weighted to perfection and when later in the play we meet Oliver Ford Davies’ York, there can surely be no finer collection of senior UK Shakespearean talent currently assembled on one stage.

Making his RSC debut Nigel Lindsay, some months since he washed off the green make-up of Dreamwork’s ogre Shrek, steps up to the role of Gaunt’s son Bolingbroke. Banished by Richard he returns from exile, raises an army and challenges the monarch. Lindsay gives a fine turn combining a complex mix of ruthless vengeance with compassion. His character has more decency than most in this bloody tale and he gets the balance between good and bad spot on.

Tennant’s Richard is sublime. Successor to Edward III, Tennant subtly yet brilliantly shows how he has become absolutely corrupted by absolute power. His and his fellow actors' interpretation of the text makes the complex poetry of the play immediately understandable, even to a newcomer to the story. When Bolingbroke forces the king to abdicate, Tennant’s aura of profound devastation and humbling bears an uncanny resemblance to that of the late Margaret Thatcher as she left 10 Downing Street for good and in tears. And whilst Thatcher (arguably) was not akin to the heartless monarch of 1399, that sense of "shock and awe" experienced when one sees before ones very eyes, the moment of a great person toppling, is easy to recognise but very hard to define. Tennant conveys such a moment in Richard II with ease and maturity, eliciting our sympathy in a truly moving portrayal.

Richard II represents the RSC at its very best. Live musical accompaniment enhanced by three heavenly soprano voices (who provide a beautiful mise en scene before the lights go down, as a backdrop to the grieving Lapotaire) only adds to the quality on offer. Unmissable.

Plays at Stratford Upon Avon until 16th November 2013 ( sold out)

Then plays at London's Barbican Theatre from 9th  December 2013 until 25th January 2014

The production will be broadcast live from Stratford, to cinemas across the UK on 13th November 2013. To find out details of these screenings, click here.