The Company: Bell Shakespeare
The Theatre: The Fairfax Studio at the Arts Centre
Until 25 May (One last performance)
Stars: 4.5
I arranged a subscription with a friend to see this year's Bell Shakespeare offerings - Henry V and Coriolanus. My friend has seen neither. I've seen both.
For me, Henry V is my favourite of Shakespeare's histories and I've seen it many times on stage. Coriolanus, I've seen once, and it was in London with Steven Berkoff in the mid-nineties.
As always, I love seeing what they do to Shakespeare, particularly using the Arts Centre's Fairfax round stage. The last time Bell Shakespeare took on Henry V, they set it in a school in London, with the actors playing school kids as the Blitz was happening outside. They used classroom offerings and student's robes for costumes. It was superlative. After this one, they had big shoes to fill.
There was also a Henry V in repertoire at the Pop-Up Globe pre-COVID. I think I saw that four times. Shakespeare for the masses.
I was really pleased to hear that my friend, a Henry V virgin, loved this as much as I did.
Regardless, I shouldn't have worried about how this was going to be staged. This was fantastic.
There's no need to go into the story. It hasn't changed in 400 years. A tale of kings and princes and going off to war, and what it is to be a king. As we know, heavy lies the head that wears the crown (Henry IV Part II).
Bell Shakespeare has stripped this right back. Anna Tregloan's stark set with some industrial looking constructions and a couple of punching bags is incredibly effective. Combined with this, the use of sous titles to translate the small about of French text, as well as providing some names, locations and dates, the production sometimes had the feel of a modern documentary. Most of the cast were dressed as modern-day soldiers, with, as is usual, great footwear - a Bell Shakespeare staple. Some reviews have pointed out that there are undertones of Volodymyr Zelensky in the way the cast was dressed. Whether or not this was intentional, is by the by. I loved that the set bolstered the cast rather than dragged them down.
Tregloan was aided by composer Jethro Woodward and lighting designer, Verity Hampson, who gave the set an urgent, imposing feeling. The use of this black goop on the floor for the Battle of Agincourt was utter genius, bringing in the messy reality of war.
Marion Potts's direction is assured as it is forceful. She has led this troupe through an incredible choreography whilst keeping to the original text. Her use of physical theatre is exemplary. Going on some scenes - particularly the storming of Harfleur and the Battle of Agincourt, the actors will have gone through months of training to prepare for the physical nature of this production.
My only small criticism is with the cut down cast of nine actors, some of the charming side scenes were left out. For the hanging of Bardolph, an unnamed soldier took his place. There was no Pistol, Nym nor Fluellen. Herny's court was cut down to Exeter and Westmoreland. As a purist, I missed this common touch and the extra pomp a full court provides, but if you don't know the play well, you're not going to miss it.
JK Kazzi was a strong, bloke-ish Henry, mulling over the human condition while getting on with things. His strong Australian accent worked in his favour, which made him appear both down-to-earth, yet sensitive to the needs of his troops.
Ella Prince was great as the world-weary Exeter, and I was particularly taken with Ava Madon's spin on Katherine, mixing strength with fragility in just the right measure.
The rest of the cast were great too.
As this only has one performance to run, having already played in Sydney and Canberra, I can't say go out and see this. Just know, this was Bell Shakespeare doing what they do best - making entertaining, relevant and thought-provoking theatre. I am a lucky woman to get to see this level of quality in a local production.
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