Don't Miss this top-drawer performance of Shakespearean classic - Henry V
- Charles Essex
- 1 day ago
- 2 min read
Henry V Performed at The Attic Theatre, Stratford upon Avon, from 13 – 27 April. Directed by John-Robert Partridge.
Review by Charles Essex
The starting premise of Henry V is that Chorus invites us to imagine that within the walls of the theatre we are at the court of King Henry and thence to France and Agincourt. It is a tribute to Tread the Boards (TTB) that their production does just that, creating not just the battle scenes for which the play is often remembered, but also the powerful speeches and the emotional interactions between the characters.
Director John-Robert Partridge played several parts, starting with Chorus, who appeared several times speaking to the fourth wall, journeying with us, encouraging, cajoling and beseeching us to have patience as the story evolved. John-Robert gave the part exactly the right tone at each point.
George Ormerod was extraordinary as Henry. He had the most dialogue by far, which he delivered with assurance, commanding the stage with speeches of gravitas, anger at the French when they killed the boys in the baggage train, and gentleness when trying to woo Princess Katherine (Jasmine Arden-Brown), daughter of the French king. Their clumsy attempts to communicate in Franglaise were particularly amusing.
With the exception of George, all the actors played several parts – nobility, servants and soldiers. Hamish Macauley was both Nim, a rough-and-ready soldier, and the conceited Dauphin, whilst Nic Rainford had expressions of wide-eyed fear and alarm in her roles.
Another of John-Robert’s notable roles was as Llewelyn, a Welsh captain, which he played to humorous perfection, reminiscent of Nigel Green, the colour sergeant in the film Zulu. The scenes with Llewelyn, Irish Captain Macmorris (Matt Rousseau) and Scottish Captain Jamy (John Kerr) were hilarious, marvellously played just enough over-the-top to be laugh-out-loud funny but not lose the humour by over exaggerating.
As we now expect from TTB, the costuming was outstanding. The stage was bare apart from a small dais on which sometimes sat the throne, and medieval music played in the breaks. Inevitably the battle scenes are one test of a good Henry V, and TTB excelled. Several members of the cast have experience and training as fight coordinators and this was clear as broad swords and daggers flashed – there is a curious thrill of sitting on the front row of a TTB production at The Attic when there is sword play!
The lighting and noise of cannon fire arranged by Kat Murray enhanced the tension at the right moments. There were other distant sounds of battle and sound effects which enhanced the play.
Once again TTB delivered a top-drawer performance. Any student or school that is or will be studying Henry V in the near future would without doubt benefit from seeing this production.
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