Henry V in an hour forty-five? You've got to be kidding. What happens when you liberally cut-and-paste an over four-hour epic? Done masterfully, you have a great production. Take a bow, Wes Martin. Not only has he used visual minimalism to maximum effect, but he has done wonders a Dramaturg would envy. While the resulting abbreviated script (played without intermission) has necessarily removed some memorable moments and powerful scenes, the play that The Shakespeare Theatre offers is a great highlights reel of the rise of an inexperienced king from carouser to unifier. And it doesn't hurt that Mr. Martin has brought together a cast that can carry the remaining action.
King Henry V began his royal career as a drinker and ladies man. Few in the country felt that he would become a great king, since his mind was on baser matters. He ascends the throne at an early age, and through the prompting of the Archbishop of Canterbury, is persuaded to reunite England and France through the interpretation of treaties and a lineage through Edward III. When Henry's counterpart in France, King Charles VI's young Dauphin, insult him on his ascension of the throne, he musters an army to take back what he believes is his hostage realm. He brings his greatly smaller army to France, and in the decisive battle of Agincourt on Saint Crispins Day, routs the French. The remainder of the play deals with his negotiations, including his wooing of the French princess Katherine, whose marriage will join the two countries more directly.
Mr. Martin has taken the Bard at his word, offering a minimalist glimpse at the broad events as implied by his solo Chorus. Richard Hardt's impressively simple set consists of a white scrim well-lit by Andrew Hutchinson and basic set pieces with dressings in either red or blue, depending on the location of English or French camps. Susan Morrell's clever costumes are sweatshirts in red with the British lion crest, or French blue with fleur de lies. The only things onstage that are not minimal are the weapons, which flash ferociously during David Barker's always amazingly directed fight scenes. These carefully handled designs allow the audience to more easily follow the swift action, and concentrate on the textual complications. Even more, Mr. Martin choreographs his large cast through some wonderful stage pictures. From the growing linear support of Henry's nobles as he's pressed to consider invasion, through the onstage rush of British forces in battle prior to Henry's famed rah-rah speech, to his final balances of the treaty negotiations, Mr. Martin has found a myriad of ways to keep the audience's eyes engaged. The success of this production is a triumph for its director.
Of course, Michael Sherwin, Beau Heckman, and Tim Shawver are no slouches either. Mr. Sherwin is a fountain of enthusiastic energy, whether he's rallying the troops or flirting with his enemy's daughter. It is only in his more tender moments that he's not as modulated. Of course, as there's so little time for tenderness, this is a non-issue. Mr. Heckman keeps the audience apprised of each sweeping movement with a sure voice, though he sometimes flies through his copious descriptions. Mr. Shawver is the ridiculously prissy Dauphin, and it's a surprisingly good choice. With this triumvirate driving the action forward, the play's the thing.
The ensemble is up to the level of the leads.
Anytime you can get Marty Berger to perform a ten-minute
walk-on, you know your supporting cast is well-stocked. From John
Slook's counseling Duke of Exeter, to Kim Parmon's
fluent French as Katherine the courted, the ensemble serves the
words and action faithfully. The only slight hesitations come
from Tom D'Vorak, Jarrod Wilson, and George Preston
as the Bardolph, Pistol, and Nym, whose subplot, while vitally
important, tends to drag and on occasion is inaudible.
There are other limited bits that take away from the evening slightly, as my companion pointed out. Ms. Morrell's costumes are inconsistently worn, with some sweatshirts untucked and others not, and some of the belts rather modern looking. Mr. Hutchinson's basic lighting can sometimes cause the eyes to tire. Some of the ensemble are prone to stumble over the demanding verse. However, the triumphs of the evening make my points rather nit-picky. This is a cleverly presented evening of Shakespeare that always finds a way to succeed.
Production Details:
Henry V by William Shakespeare
The Shakespeare Theatre
Cactus High School Auditorium, Glendale
(602) 272-0931
January 4th - 21st, 2001
