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Henry V

The Barn Theatre

Reviewed – 27th March 2020

★★★★

“Aaron Sidwell is a terrific Henry for our times, and moves deftly between his different incarnations”

The Barn’s Henry V, which ran for a month in 2019, was both a critical and commercial success. The production played to packed houses and added to that theatre’s growing reputation, which led to the Best Fringe Theatre Award at last year’s Stage awards. Now sadly dark, along with all the UK’s other theatres, The Barn live-streamed the production at 6pm last night, in honour of World Theatre Day, and to keep their own flame alive.

Henry V is not an easy play to stage. The action is choppy, and it is blessed and cursed with some of the most famous speeches of the Shakespearean canon. Not only have those speeches been given by some of the titans of theatrical history, but they have also been co-opted time and time again to serve patriotic fervour, for good or ill; most recently by Tommy Robinson and his band of thugs in the Brexit war, which is, of course, the political landscape that this production came out of, and which Hal Chambers (director) quite rightly references. Benjamin Collins’ terrific video projection work makes this quite clear, as does the staging of the political meetings: leaders behind podiums, turning on the charm for the press. The contemporary references don’t stop there; Harry himself is compared to our own Prince Harry – the party prince – and the extended rave montage at the play’s opening firmly situates him in the world of clubs and cocaine, showing the distance he has to travel to be taken seriously as a monarch. The sequence could arguably have been shorter, but the point is well made.

Aaron Sidwell is a terrific Henry for our times, and moves deftly between his different incarnations – monarch, soldier, politician – all the while displaying a charming eagerness to do the right thing. This is a Henry who cares, so very much, about his country and his countrymen, and watching the profound weight of that leadership grow within him as the play progresses is one of the pleasures of this performance, and this production. He is supported by a committed and talented cast, whose energy fills the stage to such an extent that it’s hard to credit that there are only eight of them all told. Special mention here to Adam Sopp (Pistol/Constable) and Lauren Samuels (Katherine/Boy) each of whom light up the stage with utterly connected, truthful performances. Pistol’s final breakdown is truly heartbreaking, and Samuels’ physical and emotional embodiment of two such different characters a testament to serious theatrical skill.

The battle scenes are tremendous. Expertly choreographed chaos with bone-chilling moments of explosive violence. Credit to Christos Dante (fight director) and Kate Webster (movement director) here, two members of an exceptionally talented production team, also including Harry Smith, whose original compositions provide the soundtrack. Although there are moments in which an underscore seems surplus to requirements, the music is for the most part used effectively throughout, and is the sonic realisation of the brilliantly-used industrial scaffolding set design.

It is impossible to watch this production without feeling what is missing. And it is as well to be reminded of the irreplaceable electricity of live performance. Filmed theatre is a strange phenomenon; akin to caging a tiger. Zoos have their place, of course, but living, breathing creatures need to be free.

Reviewed by Rebecca Crankshaw

Photography by Eve Dunlop

Henry V

On The Barn Theatre’s social media channels until further notice

Last ten shows reviewed by Rebecca:

Dadderrs | ★★★ | The Yard Theatre | January 2020

In A Way So Brutal | ★★★★ | The Yard Theatre | January 2020

Santi & Naz | ★★★ | The Vaults | January 2020

The Maids | ★ | Hen & Chickens Theatre | January 2020

Tom Brown’s Schooldays | ★★ | Union Theatre | January 2020

Ghost Stories | ★★★ | Theatre Royal Brighton | February 2020

Since U Been Gone | ★★★★ | The Vaults | February 2020

The Fourth Country | ★★★★★ | The Vaults | February 2020

The Tin Drum | ★★★★ | The Coronet Theatre | February 2020

Superman | ★★★½ | The Vaults | March 2020

Click here to see our most recent reviews

★★★

“Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival”

In the 1950s, France is attempting to mask the emotional and moral effects of the war and return to an appearance of normality. Jean Anouilh’s prolific output, rarely performed today, ranges from drama to farce. ‘The Orchestra’ leans towards what he categorised as his ‘black’ work (as opposed to ‘pink’, ‘brilliant’ or ‘grating’), contrasting with poignant wit the dramatic change the German Occupation had on the country. Here, Anouilh mirrors this with a small café ensemble whose polished performance juxtaposes the smouldering frustrations, rivalry and revelations which seep out between movements, the sugary lightness of the music enhancing the discord. The orchestra represents the female-dominated, close-knit society of the time. Stuck in a dull provincial spa town they repeat over-familiar tunes to an unappreciative audience. But they are also keen to unwrap each other’s secrets and the collaboration question.

Jeremy Sams’ translation brings to life the radiant facade and cutting jealously, even if the language is sometimes somewhat updated, but the setting of time and place in this play is essential to the characters’ behaviour. A culturally diverse cast with varied accents changes the ambience and, moreover, means that it is quite often hard to get past understanding the actual words and we lose the nuances of the script and personalities. Amanda Osbourne as Madame Hortense controls the group with strong authority (if not the voluptuous shape described by Anouilh) as it writhes with uncomfortable truths. The violin ‘desk partners’ reveal their personal domestic realities and there is amusing chitchat between the flautist and the viola player. Even the cellist admits deliberately playing out of tune to German audiences. Pedro Casarin as Monsieur Leon, the pianist, gives the most dramatic about-face but it is the fighting over him by Madame Hortense and Suzanne, the cellist, which culminates in the darkest moment…as the band plays on.

The breezy melodies (Felix Cross) camouflage the searing tensions but the quality of the soundtrack doesn’t do justice to the energy and expression of recorded live music. Learning to mime playing a stringed instrument is a highly commendable feat and Sarah Waddell (the violinist, Pamela), in particular, makes a convincing impression. Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival of a writer and genre which has long been neglected and captures the forced smile of a period desperate to gloss over the recent past.

Reviewed by Joanna Hetherington

Photography by Jacob Malinski