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Henry V

★★★★

The Maltings Open Air Festival

Henry V

Henry V

The Maltings Open Air Festival

Reviewed – 15th August 2020

★★★★

 

“the cast are masterful at multi-roling and eking out the comic potential”

 

Lockdown appears to be easing in many walks of life, but it is unfortunate that the theatre world, in particular, is still struggling to get back on its feet. The government announcement allowing indoor events is very welcome although there is still a fair bit of ground to cover. In the meantime, open-air theatre is stealing the spotlight, and a very fine example of this is the Maltings Open Air Theatre Festival, set in the unique Roman Theatre of Verulamium just on the edge of St Albans. As part of the festival, Shakespeare’s “Henry V” is running in rep throughout August.

Whilst our theatres are nursing their wounds from the battle against the pandemic, outdoor theatre has another foe, too, in the English weather; and “Henry V” opened just as the heavens did. But mercifully the downpours showed some restraint for the crucial ninety minutes and rain didn’t stop play: the show must go on, and the true spirit of the cast thrives, matching the trumpet calls that herald Shakespeare’s historical text.

“Henry V” is an ambitious play. It is difficult to represent the great battles of Harfleur and, more importantly, of Agincourt. It relies heavily on the collective imagination of the audience, and here it is aided too by the individual imagination of director, Matthew Parker. Embracing the current restrictions, Parker presents the play as a rehearsal for a school production. The teachers and students have gathered together in the summer holidays to rework their production of “Henry V” that was presumably curtailed earlier in the school year. They have to alter the staging to make it socially distant and safe. Costumes can only be touched by the actor wearing them and no-one can share a prop – each cast member assigned different coloured tape to enforce this. The action is interrupted whenever actors get too close to each other. It is a clever way if incorporating the regulations into the performance itself.

The cast brilliantly capture the atmosphere of the classroom in recess where familiarity and authority have license to flirt with one another. The flipside, however, is that one is drawn to these characters more than to the Shakespearian characters they are portraying, and Shakespeare’s text plays second fiddle. The complexities of the subject, and the contrasting views on patriotism and warfare, do get swept aside by the occasional over-projection and caricature. Nevertheless, the cast are masterful at multi-roling and eking out the comic potential. Felipe Pacheco and James Keningale stand out, playing seven or so characters between them; and Rachel Fenwick shines as the French King’s daughter, Katherine, especially during the iconic scene in which she attempts to improve her English.

But all in all, it is an ensemble piece that is refreshingly pacey and fizzes with energy. The electricity that seems to crackle form the stage is not just the early signs of the impending thunderstorm. The setting is stunning: an excavated Roman amphitheatre that is nearly two thousand years old. For over a millennia it was buried, but it lives to see the light of day. A fitting backdrop for one of the first productions to emerge since lockdown. The spirit of theatre cannot be dampened – by an invisible enemy nor by the English weather, and this feisty production of Henry V is testament to that spirit.

 

 

Reviewed by Jonathan Evans

Photography by Laura Harling

 


Henry V

The Maltings Open Air Festival until 31st August

 

Last ten shows reviewed by Jonathan:
Musik | ★★★★ | Leicester Square Theatre | February 2020
Nearly Human | ★★★ | The Vaults | February 2020
Tell It Slant | ★★★ | Hope Theatre | February 2020
The Importance Of Being Earnest | ★★★½ | The Turbine Theatre | February 2020
Closed Lands | ★★★ | The Vaults | March 2020
Max Raabe & Palast Orchester | ★★★★★ | Cadogan Hall | March 2020
The Kite Runner | ★★★★ | Richmond Theatre | March 2020
The Last Five Years | ★★★★ | Southwark Playhouse | March 2020
A Separate Peace | ★★★★ | Online | May 2020
The Understudy | ★★★★ | Online | May 2020

 

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Twelfth Night
★★★

Rose Playhouse

Twelfth Night

Twelfth Night

The Rose Playhouse

Reviewed – 24th April 2019

★★★

 

“Energetic music and some incredibly talented actor-musicians stop this production sinking”

 

“And we’ll strive to please you every day,” sings Feste in the closing scene of Shakespeare’s gender-swapping comedy of errors, and it’s certainly a maxim adhered to by OVO and director Adam Nichols in this entertaining production of ‘Twelfth Night’. A 1920s nautical setting relocates the play to the ‘SS Illyria’, where washed up music hall stars and famous actresses bump uglies and drink cocktails. Energetic music and some incredibly talented actor-musicians stop this production sinking, but it never quite sails along as smoothly as you would hope.

Viola (Lucy Crick) arrives on board having lost her twin brother Sebastian (Joshua Newman), so she of course dresses up as a man to enter the service of lovelorn Orsino (Will Forester), captain of the ship. Rather than wooing Olivia (Emma Watson – no, not that one) on Orsino’s behalf, Viola, now Cesario, becomes the object of Olivia’s affection, just as Viola realises she’s in love with Orsino. Cue mayhem. Alongside the main plot, the antics of Sir Toby Belch (Anna Franklin) play out in admirably foolish fashion.

Personally, I could watch ‘Twelfth Night’ all day long. It’s a cracking comedy that becomes richer for every watch. Director Nichols has vamped up the fun factor, replacing the original tunes for 1920s-style remixes of pop classics. Music is obviously key here, with each actor dexterously picking up different instruments throughout the night, and there are a couple of amazing singers in this cast, most notably Hannah Francis-Baker. However, the comedy value of hearing characters like Viola singing the likes of ‘Oops I Did It Again’ grows old quickly, and the singers need to own their songs more to convince us they are worth hearing.

The ship-based setting is also confused and underused. Forcing all these characters into a small, confined space could lead to some amusing quick-paced comedy capering, but in the end it just distracts from the storytelling. Decent cuts and some nice wiggling around of scenes keeps things short and snappy, but I did miss Antonio and Sebastian’s presence, and a cruel twist on the ending leaves Malvolia (Faith Turner) singing ‘Creep’ looking very forlorn in her yellow stockings.

Taken altogether, this is a fun and frothy take on Shakespeare’s comedy that certainly entertained this audience. Some unsteady songs and shaky acting almost take this production of course, but it picks up a pace and energy halfway through that means it makes it to dock safe and sound.

 

Reviewed by Joseph Prestwich

Photography by Lou Morris

 

TheRosePlayhouse

Twelfth Night

The Rose Playhouse until 5th May

 

Previously reviewed at this venue:
Macbeth | ★★½ | February 2018
Love’s Labour’s Lost | ★★½ | March 2018
Will or Eight Lost Years of Young William Shakespeare’s Life | ★★★★ | March 2018

 

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