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| Production photo by Craig Schwartz |
The Life Of Henry
The Fifth, almost always shortened to
Henry
V, is a play that some see as a celebration of nationalistic pride while
others see in it a condemnation of war. Of course, there are elements of both,
as Shakespeare never seemed to see things in such simplistic terms. But in
these strange times of a divided nation, when nationalism is once again raising
its dangerous voice, which elements would be stressed in a production of the
play? Would the St. Crispin’s Day speech be as rousing as in times past? Would
there be little winks and nods at certain lines, letting a modern sensibility
comment on the action?
The talented company at A Noise Within mostly lets
Shakespeare’s play speak for itself in the new production of Henry V, which opened last night in
Pasadena. It is presented in more modern dress, and stresses the role of the
Chorus, emphasizing, as the Chorus does in the text, that the action presented
is a simulation, falling short of the reality of war. The set works well in
this regard, with a large set piece of five levels upstage creating the sense
of seating at an arena. As it is a thrust stage, this effectively makes the
audience part of that arena too, as it completes the circle of seats around the
stage. This is a really interesting effect, as it makes us feel more a part of
the action while simultaneously stressing the artificiality of the action. The
Chorus, by the way, is played by multiple actors throughout the performance. So
instead of an outsider, a narrator, commenting on the play, it is as if the
actors themselves are adding to their performances by giving us more information.
This presents some wonderful opportunities for metatheatre, as when Erika Soto,
who plays Katharine, speaks as the Chorus of the offer of Katharine to Henry: “the king doth offer him/Katharine his
daughter, and with her, to dowry,/Some petty and unprofitable dukedoms.” It’s
a delightful and humorous moment.
When the play opens, the actors enter the stage from
several different locations (including some surprising ones), carrying modern
lanterns and dressed entirely in dark clothes, like they’re taking part in a
secret military action. Several then perform the Chorus’ opening speech, and the dark,
simple clothing really works with the Chorus’ line “For ‘tis your thoughts that now must deck our kings.” Apart from
the audience’s thoughts and the play’s lines, only a crown indicates which character
is a king. And yet, throughout this production, there is absolutely no
confusion about who is who, never an uncertainty about who is speaking.
When Henry V (Rafael Goldstein) asks “May I with right and conscience make this
claim,” he rises and walks forward, and we see he is ready to go to war, hoping
for an affirmative answer to his question, even before the insulting message
from the Dauphin. As for the “treasure,” in this production it is in what looks
like a gym bag labeled “KING HENRY V,” rather than in a tun, as indicated in
the text. However, a gym bag is all too fitting for the tennis balls contained
inside, so it isn’t as surprising or insulting as it is when they are inside a
cask or coffer. This is one of the few moments when the modern style causes something
of a loss.
Sometimes in this production, actors who are not part of
a particular scene will remain on stage, seated on the set piece upstage. For
example, Jeremy Rabb, who plays Bardolph, is seated during the Chorus’ speech
that begins the second act. At the end of that speech, the Chorus tosses him
the hat which allows him to then become Bardolph and begin the scene. That
scene is wonderful, by the way. I particularly enjoy the varying deliveries of
Nym’s “that is the humor of it.”
Bardolph, Nym, Pistol and Mistress Quickly represent Henry V’s youth and past,
and they are, in some ways, the common heart of the piece. Later, when those
characters enter solemnly after the death of Falstaff, Henry V remains on
stage, standing at the top level far upstage. This creates a meaningful stage
picture, as he is essentially above them, looking down at them. Is that how he
feels, that he is above them now? Or is that how they feel about him, that he
is beyond them, no longer one of them? Henry V takes off his crown at the end
of the scene, as if in honor of Falstaff’s memory, a touching moment.
The Chorus’ speech that starts the second act is actually
split in this production, with the lines about the three conspirators coming
after the scene with Bardolph and Nym and the others, and so right before the
scene where Henry confronts them. Interestingly, the actors playing the
conspirators identify themselves by shouting out their names as the Chorus
mentions them. In that scene, Henry V wears sunglasses – the crown and
sunglasses together creating a strange image. (By the way, the King of France
walks with the use of a cane, and wears reading glasses at one point, in
contrast to youthful Henry’s sunglasses.) This is an excellent scene, tense and
intriguing and well-acted. Rafael Goldstein does a wonderful job as Henry V
through the play, but this scene in particular is one of his best. Kasey
Mahaffy turns in another of evening’s best performances as the Dauphin.
(Actually, he turns in two excellent performances, the other as Nym.) I love
his twisted joy as he insults Henry V. I also love Stephen Weingartner’s
performance as Williams, the soldier who exchanges gloves with the disguised
Henry. And, what will come as no surprise to Shakespeare fans in Los Angeles,
Erika Soto is wonderful as Katharine and Boy. I’ve seen her play Juliet, Cordelia,
Miranda, and several other key roles in Shakespeare’s works, and she is always
a pleasure to watch. She never fails to bring something special, fresh and
surprising to the parts she plays.
Even though the Chorus has warned us that the battles might
not be presented completely, the fight scenes in this production are handled
really well. The first one is sudden and intense, and makes great use of that
large set piece upstage, leading to the famous “Once more unto the breach, dear friends, once more” line. The main
battle scene is likewise intense and strong. And, if you were wondering, the
St. Crispin’s Day speech is still quite powerful and moving, and Rafael
Goldstein does an excellent job with it.
This production, in general, moves rather swiftly. There
are, of course, some major cuts. Gone is most of Fluellen’s role, as well as
Gower and Captain Jamy. Alice is completely cut, and so the scene where
Katharine is learning English is mostly missing. What we get is the briefest of
moments of Katharine alone, reciting the English words for a few body parts. So
the humor of the scene is gone. In this production, it is Nym rather than
Bardolph who is hanged, while Henry watches. Perhaps the strangest cut is the
dialogue between Fluellen and Gower about the slaughter of the boys,
particularly as Henry’s response to it – “I
was not angry since I came to France/Until this instant” – is left in.
Because what leads to that line is gone, the audience’s reaction to the line is
different. Still, most of the cut material is not missed, particularly as the
production has an excellent momentum and pace. This production also has a
certain beauty in its style and execution.
There is one fifteen-minute intermission, coming almost
directly after Nym’s death. This production of Henry V is directed by Julia Rodriquez-Elliott and Geoff Elliott, and
runs in repertory with A Raisin In The
Sun through early April at A Noise Within, located at 3352 E. Foothill
Blvd. in Pasadena, California. There is free parking at the Sierra Madre Villa
Metro Parking Structure.
