Henry V - Review

Barbican Theatre, London


As The RSC open their Henry V at London's Barbican Theatre, here is my 4* review of that production from its opening at Stratford upon Avon in September 2015.

And this link is to my interview with the company's rising star, Alex Hassell.

****

Written by William Shakespeare

Directed by Greg Doran

Alex Hassell

In a time of celebrity cast Shakespeare productions, it is a pleasure to observe Greg Doran’s take on Henry V and see not so much a band of brothers, but rather a company of craftsmen offering one of the most intelligent interpretations of this complex play in recent years.

Famously seized upon by directors as a platform for political comment, Henry V has often been rolled out as a platform (sorry, make that a bandwagon) to voice opinion upon contemporary conflict. On screen Olivier’s Harry sought to rally the nation as the 1944 Normandy landings loomed, whilst in 2003 as war raged in Iraq, Adrian Lester’s dusty jeep sped onto the Olivier stage, drawing Nick Hytner’s line in the sand as he acceded to the National’s directorship. 

But in this show, today’s politics are sidelined in place of comment on the universal compromises that war imposes upon humanity. Doran eschews all sense of contemporary tub-thumping in place of well honed drama and lets the Bard’s verse speak to its own strengths. Broadly staged in period garb, apart from Oliver Ford Davies’ marvellous Chorus, clad in modern dress, setting out Stratford’s cockpit whilst the House lights stay on, this is an un-pretentious Henry V.

Marking a natural progression from his Prince Hal in both parts of Doran’s Henry IV, Alex Hassell accedes to the throne and his performance is a thing of beauty. Having observed his development in the preceding plays, his Henry matures before our eyes as the responsibilities of inspirational monarchy weigh upon him. Hassell brings a heroic handsome humility to the role that sheaths a steely spine. His Henry’s pragmatic ruthlessness is as credible in dealing with the traitors at Southampton, as it is in the famously troubling (and often excised) command that his troops should kill their French prisoners. 

Hassell’s handling of the St Crispin’s Day speech is majestic yet free of pomposity and condescension, whilst his  entreaties to his troops to treat the defeated French with decency ring with an envious integrity.

Robert Gilbert’s Dauphin needs work – it’s a complex role to carry off and he’s not quite there yet in suspending our disbelief. Elsewhere there is a fine company work to support Hassell’s Harry. Joshua Richards’ Bardolph/Fluellen offers impressive soldiers’ perspectives both on conflict and upon dutiful service. In a minor role, Sam Marks’ (who only recently played Happy opposite Hassell's Biff in the RSC's Death Of A Salesman) French Constable shone out as a beacon of credibility, whilst Jane Lapotaire’s Queen Isobel, in the briefest of speeches, defines with dignity France’s pain in defeat and her nation’s hopes for the future.

As ever, the RSC's stagecraft is world class with Stephen Brimson Lewis’ use of projections and eerily effective understage lighting in his set designs proving particularly effective.

Shortly to move to London’s Barbican Theatre, one suspects that like a fine wine, this already impressive production play will only improve with time. 

Setting politics aside, this Henry V offers up a perspective on war that speaks to us all.


Runs until 30 November 2015

Then runs during January 2016 as part of The RSC's Great Cycle of Kings

Henry V - Review

Royal Shakespeare Theatre, Stratford

****

Written by William Shakespeare

Directed by Greg Doran

Alex Hassell

In a time of celebrity cast Shakespeare productions, it is a pleasure to observe Greg Doran’s take on Henry V and see not so much a band of brothers, but rather a company of craftsmen offering one of the most intelligent interpretations of this complex play in recent years.

Famously seized upon by directors as a platform for political comment, Henry V has often been rolled out as a platform (bandwagon) to voice an opinion upon contemporary conflict. On screen Olivier’s Harry sought to rally the nation as the 1944 Normandy landings loomed, whilst in 2003 as war raged in Iraq, Adrian Lester’s dusty jeep sped onto the Olivier stage to draw Nick Hytner’s line in the sand as he became the National’s director. 

But in this show, today’s politics are sidelined in place of comment on the universal compromises that war imposes upon humanity. Doran eschews all sense of contemporary tub-thumping in place of well honed drama and lets the Bard’s verse speak to its own strengths. Broadly staged in period garb, apart from Oliver Ford Davies’ marvellous Chorus, clad in modern dress, setting out Stratford’s cockpit whilst the House lights stay on, this is an un-pretentious Henry V.

Marking a natural progression from his Prince Hal in both parts of Doran’s Henry IV, Alex Hassell accedes to the throne and his performance is a thing of beauty. Having observed his development in the preceding plays, his Henry matures before our eyes as the responsibilities of inspirational monarchy weigh upon him. Hassell brings a heroic handsome humility to the role that sheaths a steely spine. His Henry’s pragmatic ruthlessness is as credible in dealing with the traitors at Southampton, as it is in the famously troubling (and often excised) command that his troops should kill their French prisoners. 

Hassell’s handling of the St Crispin’s Day speech is majestic yet free of pomposity and condescension, whilst his  entreaties to his troops to treat the defeated French with decency ring with an envious integrity.

Robert Gilbert’s Dauphin needs work – it’s a complex role to carry off and he’s not quite there yet in suspending our disbelief. Elsewhere there is a fine company work to support Hassell’s Harry. Joshua Richards’ Bardolph/Fluellen offers impressive soldiers’ perspectives both on conflict and upon dutiful service. In a minor role, Sam Marks’ (who only recently played Happy opposite Hassell's Biff in the RSC's Death Of A Salesman) French Constable shone out as a beacon of credibility, whilst Jane Lapotaire’s Queen Isobel, in the briefest of speeches, defines with dignity France’s pain in defeat and her nation’s hopes for the future.

As ever, the RSC's stagecraft is world class with Stephen Brimson Lewis’ use of projections and eerily effective understage lighting in his set designs proving particularly effective.

Shortly to move to London’s Barbican Theatre, one suspects that like a fine wine, this already impressive production play will only improve with time. 

Setting politics aside, this Henry V offers up a perspective on war that speaks to us all.


Runs until 20th October

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.