Henry V, Globe Theatre, London, June 2012

Jamie Parker in the title role gave a superb account of a king come of age since his youthful indiscretions, and that wonderful St. Crispin’s day speech, responding to Westmorland’s wishing a few more men for the forthcoming battle of Agincourt, is delivered as if he is making it up as he goes along. In fact the whole expedition to France carries an air of unlikely providence about it, led by the king’s determination to requite the insulting gift of tennis balls from the Dauphin of France. And at one point Parker enters the audience to clap a tall chap on the upper arm and shout, “God for Harry!”

The Battle, Globe image/ Stephen Vaughan

This fine production by Dominic Dromgoole has the feel of historical authenticity, with Jonathan Fensom’s costumes admirably showing the dirt and grime of the fifteenth century, and those English crosses painted onto several tunics add to the effect. In fact the feeling of being in another time starts right at the beginning as Canterbury and Ely converse while engaged in their ablutions, washing their hands afterwards in a bowl provided by the Chorus. And when Henry’s ambassador goes to France he unrolls a family tree, elegantly made and showing descent from Edward III. These are serious moments, but interspersed with lightness that caused the audience to laugh out loud, and Sam Cox as Pistol was wonderful fun. So was Brendan O’Hea as Captain Fluellen, and Kurt Egyiawan, with his superb diction, gave an amusing spin to the grandiloquence of the Dauphin.

Pistol and Gower, Globe image/ John Haynes

Jamie Parker himself created laughter and applause near the beginning as he stopped at a good moment to allow the noise of a circling helicopter to die away. It came back and buzzed around for ten minutes, but nothing could put this performance out. We were immersed in a short period of the Hundred Years’ War, even if Brid Brennan as Chorus in the prologue regretted the inadequacy of a stage drama to represent the glory of one of the greatest battles in that war.

Katherine and Henry, Globe image/ John Haynes

But this was a team effort with fine acting that conveyed the drama exquisitely, and Olivia Ross was wonderful, both as the English boy and the French Princess Katherine, who marries Harry of England. As history tells us, their son, born the year before his father’s death became Henry VI, the last of the house of Lancaster. The Globe is surely the greatest venue for Shakespeare, particularly under the direction of Dominic Dromgoole, and this Henry V comes over with huge appeal.

Performances continue until August 26 — for details click here.

Henry IV Parts 1 and 2, Globe Theatre, London, July 2010

With an audience on three sides of the stage, plus the casual openness of the standing area, Roger Allam was well placed to give us a wonderful interpretation of Falstaff. His contact with the audience was inspired, and they loved him, yet there was nothing over the top in his shrewd levity, ever ready to recover from the jibes and rejections of others.

Falstaff with Mistress Quickly and Bardolph, photo by John Haynes

Apart from Falstaff, these plays have no central character given to introspective soliloquies, so it is more the case of one actor playing off another, and many of the cast did this well, performing more than one role. William Gaunt and Christopher Godwin were amusing as the old duo Shallow and Silence in Part 2, while having been far more direct and vigorous as Worcester and Northumberland, and I liked Paul Rider both as Bardolph, and in his vignette as the Archbishop of York. Jade Williams as Doll Tearsheet in Part 2 showed an engaging weakness for Falstaff, throwing up most convincingly on the front corner of the stage and surprising the audience packed around there, a far cry from her refined Lady Mortimer. Barbara Marten played Lady Northumberland, as well as being a suitably indignant tavern hostess as Mistress Quickly, with her husband sitting upstairs smoking a pipe — a nice touch.

Prince Hal with Falstaff, photo by John Haynes

Oliver Cotton played the King as a serious monarch, betrayed by the rebellious vanities of others, but the principal rebel, Harry Hotspur showed a spluttering anger that failed to allow even a half-second pause in the expression of his fury. Sam Crane’s portrayal of this hothead could have used more nuance, and his re-appearance as Pistol in Part 2 had a clownish quality that seemed unsuited to this production. But Jamie Parker as Prince Hal showed nuance aplenty in his fine portrayal of youthful high spirits edged by an understanding of his future as king. Here is an actor — one of the original cast for The History Boys — who can be suitably immature as Prince Hal, yet bring into Part 2 elements of the future Henry V who will inspire and lead his army at the Battle of Agincourt. I look forward to his future portrayal of that role!

Prince Hal replaces the crown, photo by John Haynes

What makes Part 1 work so well is the brilliance of Falstaff and Prince Hal. Of course Hal is not seen much in Part 2, until he takes the crown from his father’s pillow near the end, so there isn’t quite the same energy in the second part, but Roger Allam was gloriously endearing as Falstaff — one could not imagine a better portrayal. These productions by Dominic Dromgoole give a fine understanding of the plays and are a delight to watch. I loved the convincing grubbiness of the costumes for the ordinary folk, as well as of the military vests for the nobles, and the crests hanging round the seating areas add to the authenticity. With the mummers at the beginning, starting outside the auditorium and taking their mime inside, a wonderful sense of occasion is given to these performances, and at £5 for a standing ticket in the pit there is no excuse for missing them. Six hours of Shakespeare with nary a dull moment.

Parts 1 and 2 of Henry IV continue until October 2^nd and October 3^rd respectively — for more details click here.

Romeo and Juliet, Globe Theatre, May 2009

This production by Dominic Dromgoole, designed by Simon Daw, gave a claustrophobic intensity to the drama, while the music composed by Nigel Hess with choreography by Sian Williams helped lighten the atmosphere. As Romeo we had Adetomiwa Edun giving a passionate performance, and commanding the stage with his presence. Unfortunately I found Ellie Kendrick’s Juliet no match for him, and one wondered why he and Paris took any interest in this dull girl. Rawiri Paratene was an impassioned Friar Lawrence, Ian Redford an irascibly intense Capulet, Ukweli Roach a sneeringly dangerous Tybalt, and Fergal McElherron was superbly engaging as Peter, a servant in the Capulet household. These men made the drama work, aided by Philip Cambus as a slightly wild Mercutio, Jack Farthing as an emollient Benvolio, Tom Stuart as a keen and callow Paris, Penny Laden as the nurse, and Andrew Vincent showing good stage presence as prince of Verona. The fight scenes were entirely convincing, and I thought the monks carrying Juliet’s body through the audience in the pit added a very effective touch. Altogether a successful production of the play, though I wish the nurse, Juliet and her mother had come over a little more strongly.