This marathon of a production features wonderful stamina from the cast.
Combining Shakespeare’s Henry IV parts one and two, Robert Icke’s production features a fabulous cast whose stamina in performing this three hour and forty minute production is impressive – but sometimes it feels as though the pacing is a little bit off.
This modern dress re-telling of both stories begins with Henry IV on the throne and he and his councillors concerned about the threat of rebellion led by Thomas Percy, Earl of Worcester, and including his brother, the Earl of Northumberland, and nephew, Harry Percy. Meanwhile, Henry IV’s son Hal is seemingly unconcerned about the threat of war and spends his time drinking and making light of life along with his companions Falstaff, Poins, Bardolph, and Peto. But as the play develops Hal’s attitude begins to change and he finds himself having to live up to his responsibilities.
What is clever about Icke’s slow burning production and adaptation is the way in which there is plenty of nuance to the characters for the cast to explore and enhance while also ensuring the balance between comedy and drama is perfectly balanced. It is an adaptation that draws you in on a gradual basis which is absolutely fine but the way in which it lingers on certain moments can impact the pace of the show and take away some of the urgency of the drama. But there are plenty of twists and turns along the way that will make audiences gasp and see characters in a different light.
It is also interesting to note the way in which the relationships between the key characters are portrayed: Hal (Toheeb Jimoh) and Flagstaff’s (Ian McKellen) relationship feels like a much closer and affectionate bond than that between Hal and his actual father Henry IV (Richard Coyle) – highlighted in a surprising moment towards the end of the first act. The tension between one relationship and affection beneath the banter of the other is really well showcased.
Visually, there is much to be admired about Hildegard’s set design that is simple but effective – particularly in the use of a curtain that seamlessly takes the audience from Westminister to Northumberland to the battlefield that brings the first act to a climax. Lee Curran’s lighting design changes from moody to bright, enhancing the change of mood and tone perfectly – impressively so in Kev Mccurdy’s fabulously choreographed fight scenes.
Perhaps it could also be said that by bringing both plays together, it is more noticeable just how contrasting Henry IV part one and part two really are – with the second part lacking the drama that we have come to expect from the first part. However, this being said, it does mean that we get to enjoy a bit more of Ian McKellen’s roguish and yet somehow endearing Falstaff – even with his tall stories getting more ludicrous.
The cast have all got to be commended on their performances in this marathon of a production and it is much to their credit that they maintain the audiences attention from start to finish effortlessly.
Ian McKellen as Falstaff is wonderfully vibrant with a twinkle in his eye consistently that shows just how much he is relishing this role, particularly highlighted in the first scene of the second act in which he is filming . He offers the character a little bit more depth away from the comedy that is pleasing to see in the little details and mannerisms – his reactions to the news of king’s death and the way in which the new king treats him are just two such examples. His comic timing is exquisite, delivering his lines with great dryness that delights.
But equally, it is easy to enjoy his character’s relationship with Toheeb Jimoh’s Prince Hal – their banter and sparring is a real highlight to the production and highlights the complexity of their relationship – there is both darkness and light to be found in their relationship. Jimoh’s own performance is filled with passion and energy, while also showcasing the character’s arc with great subtlety and feeling. But there is a darkness in his performance, enhanced by a shocking moment in the character’s showdown with Samuel Edward-Cook’s Hotspur – which reveals volatility to his personality that the audience hasn’t been exposed to before.
The whole supporting cast deserve credit as well. Richard Coyle makes for a suitably regal Henry IV, whose increasing paranoia and insecurity as the threat of rebellion becomes increasingly ominous, while Clare Perkins and Geoffrey Freshwater are equally as memorable as Mistress Quickly and Bardolph respectively.
It has to be said that if you are new to the plays Henry IV parts one and two, this production might be slightly overwhelming but with a cast and production this good it is still worth catching while you can.
by Emma Clarendon
Player Kings continues to play at the Noel Coward theatre until the 22nd June before embarking on a UK tour. To book tickets for the London run visit: London Theatre Direct, From the Box Office, London Box Office or Love Theatre.com.
Rating: ⭐⭐⭐⭐