Stratford-upon-Avon Theatre Review: RSC Henry IV Part I Review and Synopsis Stratford-upon-Avon

And While Your Here A Review Of Henry IV Part II

The evening ended with warm applause; a genuine wave of affection for Sir Antony Sher and an acknowledgement of his ability to embody one of Shakespeare's most 'rounded' characters. This was the first performance of a long run, yet Falstaff already appears fully formed; charming, unreliable, good company but bad for the soul. There is such a volume of language, so many wonderful insults, and such rich variety of interplay between the characters that a lengthy exploration must be seen as a wonderful opportunity, rather than a theatrical marathon. I recently caught an interview with Mark Rylance and Jez Butterworth in which they discussed the evolution of 'Jerusalem', they denied the direct influence of Falstaff but acknowledged the rich dramatic possibilities of this man amongst boys and boy amongst men, providing a freedom parents attempt to prevent, a freedom essential as a rite of passage to adulthood. The figure of Falstaff is a one man chorus; a coward in a world of chivalry, a thief in a court driven by a concept of honour and a wonderful companion if you keep your hand on your purse.
Antony Sher's Falstaff is a rotund figure with long white hair and beard, clad in greasy apparel, with a large hat and leather coat; a man unable the control his shaking hands without a liberal application of sack. He is the charismatic heart of a strong cast but leaves a vacancy when the political intrigue of kingship is played out between the guilt-ridden Henry IV and his power brokers the Percy family.
The performance begins with an echo of Richard II, the sparse set is dominated by a huge crucifix, with the light of a stained glass window playing across the stage. A repentant Henry IV prays at a prie dieu and is literally haunted by the ghost of the anointed king whose murder hangs heavy on his conscience, highlighting the fragility of that ‘hollow crown’. The play then switches between the power politics of medieval king-making and the debauchery of Prince Hal, who neglects duty to follow in the wake of a fat old knight through the taverns and bawdy houses of Eastcheap. The king regrets that his Harry is dissolute and seemingly unfit for governance while the rough and fiery Harry Hotspur bestrides the battlefields of the north like a young mars.
The Percy family feel ill-used and conspire with Mortimer, who has a strong claim to the throne, and Owen Glendower, a mystical welsh lord who has married his daughter to Mortimer after capturing him in battle. Harry Percy is married to Mortimer's sister and is infuriated when the king refuses to ransom Mortimer. Thus a fragile alliance is formed that will take the field against Henry. Meanwhile Hal drinks and conspires with thieves in the lowest dens the capital can supply.
The design of the production places the play in an appropriate medieval setting, the sets are sparse and darkly lit, largely consisting of slatted screens or wainscoting with balconies to the side and furniture brought on and off to evoke a tavern or the court. Falstaff and Hal are discovered beneath the covers of a huge bed from which three women appear.
This is a solid, intelligent production thoughtfully directed by Greg Doran, with a strong cast featuring powerful performances by Jasper Britton as Henry and the two Harrys, Alex Hassell as Hal and Trevor White as Hotspur, whose first and final meeting in the Battle of Shrewsbury ends in much dangerous swordplay.
Of course the production will evolve and tighten with time and will, I think, become a long-remembered performance of this popular Shakespearean favourite. I advise you book while you have a chance, the production goes on tour so you may have an opportunity to see one of the finest actors of his generation in theatre closer to home.

Review Of Henry IV Part II

The setting of the RSC Henry IV Part I is loosely 15^th century, so it is no surprise that Part II continues in the same vein. What is a surprise is the entrance of Rumour, who is more troll than chorus, more stoner than you would expect. Antony Byrne turns the usual mantra of ‘turn off your phones!’ into an opening gambit and arrives on stage to a back projection of #rumour, he wears a Rolling Stones T shirt resplendent with the red tongue of rumour. A phone rings and he pulls a mobile from his pocket; the weapon of choice for the modern manipulator of truth. This chaotic personification is to mutate into Byrne’s manic interpretation of Pistol, whose electrified hair, beard and wild gestures provided the school kids in the audience with a rich source of delight. This is a wonderful tour de force and the twitter analogy seems to resonate, but why doesn’t this idea outlast the first scene?

Rumour whispers at the gates of the rebel Earl of Northumberland, Sean Chapman, who has sent his son, Hotspur, to fight the King at Shrewsbury, he awaits news, apparently too ill to bring his own forces to bear. The ladder ‘wherewithal the mounting Bolingbroke ascends my throne’ seems to have grown more cautious with age. Rumour brings news of Harry Percy’s victory, but the audience has already seen the death of Hotspur at the hands of Prince Harry at the end of Part I. Northumberland soon learns the truth and throws away his stick and coif to don armour with the intention of joining with the Archbishop of York and avenging his son’s death. Will he fight or seek a safer refuge?

We discover Falstaff, a ‘hero’ of the Battle of Shrewsbury, back in his old haunt of Eastcheap. He has acquired a large military medal which he proudly displays on his chest. Henry IV Part II brings us closer to Falstaff focusing on his relationship with Mistress Quickly and Doll Tearsheet and a later encounter with Justice Shallow, an associate of his youth. Prince Hal, though far from a reformed character, is rarely seen in the company of this disreputable Knight, but Falstaff has Bardolph and a young page, presented by the Prince, to resume the comic exchange of insults. Both Quickly and Shallow will fall victim to his charm and bankroll his pursuit of Prince Hal, soon to inherit the throne from his careworn father.

'There live not three good men unhanged in England; and one of them is fat and grows old'

'If the rascal have not given me medicines to make me love him, I'll be hanged'

“That trunk of humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts, that roasted Manningtree ox with pudding in his belly, that reverend vice, that grey Iniquity, that father ruffian, that vanity in years?”

'This sanguine coward, this bed-presser, this horseback-breaker, this huge hill of flesh!'

'Sblood, you starveling, you elfskin, you dried neat’s tongue, you bull’s pizzle, you stockfish! O, for breath to utter what is like thee!'

Royal Shakespeare Theatre
18 March - 6 September 2014

Newcastle upon Tyne

Newcastle Theatre Royal
25 September - 4 October 2014

Norwich

Norwich Theatre Royal
14 - 18 October 2014

Public booking from 24

Manchester

The Lowry
21 - 25 October 2014

Public booking from 3 March

Bradford

Alhambra Theatre
28 October - 1 November

Public booking now open.

Bath

Bath Theatre Royal
4 - 8 November 2014

Public booking from June 2014

Canterbury

Marlowe Theatre
11 - 15 November 2014

Public booking from 31 March

London

Barbican Theatre
29 November 2014 - 24 January 2015

Join now and become a Member for Priority Booking from 26 March.

Public Booking opens 4 April.

Henry IV Part I will be broadcast live to cinemas on 14 May 2014.
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