In our 101 Reasons to Love the Cotswolds collection, Henry V, Royal Shakespeare Theatre, Stratford-upon-Avon stands out as a reminder that the area is about much more than pretty views.
So, whether you are planning a visit or simply enjoying a little Cotswold inspiration, we hope this helps you understand why Henry V, Royal Shakespeare Theatre, Stratford-upon-Avon deserves its place in the list.
01/10/2015
Rating: ***** By Colin Davison @IamColinDavison
Tricky business these days, patriotism, and not just for politicians.
How to play today Shakespeare’s most nationalistic play, written in time of war, and most memorably defined by Olivier in time of another?
Tricky business these days, patriotism, and not just for politicians.
How to play today Shakespeare’s most nationalistic play, written in time of war, and most memorably defined by Olivier in time of another?
Since then, Kenneth Branagh and the RSC’s William Houston have piled on the gore, whereas Geoffrey Streatfeild in 2007 presented a hero deeply troubled by the slaughter he has created.
Which character to play? For the king majestic in victory is also the erstwhile prince of revels, the soldier urging his men unto the breach is also the bloody tyrant threatening citizens with unrestrained rape and murder, and ordering the killing of prisoners.
Now Alex Hassell, working with the RSC’s top team, artistic director Greg Doran and design director Stephen Brimson Lewis, has brilliantly created a complex, contradictory and compelling figure of the man and monarch.
Hassell’s Henry, an uncertain lad with a short attention span, glances restlessly around while his archbishop reads the dodgy dossier justifying a case for war.
When, alone on stage, he famously urges another assault on Harfleur, his voice rises almost to a manic level, as if emboldening himself as much as his temporarily absent band of brothers.
Insecure and over-confident by turns, compassionate and cruel, common man and imperious, Hassell encompasses the young Hal and the battle-seared Henry in a consummate performance, based on an insight revealed in every gesture.
Among a strong cast, two actors deserve special mention, both playing dual roles.
The indisposition of Jane Lapotaire meant that Sarah Parks cast off her Miss Quickly costume and Eastcheap accent to reappear as the French queen Isobel, given here the Duke of Burgundy’s long plea for peace. From bawdy house to palace, how natural she seemed to both.
And Joshua Richards brought just the right degree of pathos and humour as Bardolph and Fluellen in a production frequently enlivened by wit.
Simon Yadoo speaks a gloriously incomprehensible Scots, and Jennifer Kirby’s delightful Katherine is allowed some liberties in her broken English to tell Henry “de tongs of men are full of de shits.”
Doran and his designer deliberately distance the piece, rather then claiming it as an authentic representation of war.
Speaking as chorus, Oliver Ford Davies ambles on in corduroys and cardigan, and with self-deprecating irony invites the audience to cram with mighty forces the stage that stands empty of all props. It might almost be a metaphor for heroism.
Henry V will be broadcast to cinemas on Saturday, October 21. It continues at Stratford to October 25 before transferring to London.
Which character to play? For the king majestic in victory is also the erstwhile prince of revels, the soldier urging his men unto the breach is also the bloody tyrant threatening citizens with unrestrained rape and murder, and ordering the killing of prisoners.
Now Alex Hassell, working with the RSC’s top team, artistic director Greg Doran and design director Stephen Brimson Lewis, has brilliantly created a complex, contradictory and compelling figure of the man and monarch.
Hassell’s Henry, an uncertain lad with a short attention span, glances restlessly around while his archbishop reads the dodgy dossier justifying a case for war.
When, alone on stage, he famously urges another assault on Harfleur, his voice rises almost to a manic level, as if emboldening himself as much as his temporarily absent band of brothers.
Insecure and over-confident by turns, compassionate and cruel, common man and imperious, Hassell encompasses the young Hal and the battle-seared Henry in a consummate performance, based on an insight revealed in every gesture.
Among a strong cast, two actors deserve special mention, both playing dual roles.
The indisposition of Jane Lapotaire meant that Sarah Parks cast off her Miss Quickly costume and Eastcheap accent to reappear as the French queen Isobel, given here the Duke of Burgundy’s long plea for peace. From bawdy house to palace, how natural she seemed to both.
And Joshua Richards brought just the right degree of pathos and humour as Bardolph and Fluellen in a production frequently enlivened by wit.
Simon Yadoo speaks a gloriously incomprehensible Scots, and Jennifer Kirby’s delightful Katherine is allowed some liberties in her broken English to tell Henry “de tongs of men are full of de shits.”
Doran and his designer deliberately distance the piece, rather then claiming it as an authentic representation of war.
Speaking as chorus, Oliver Ford Davies ambles on in corduroys and cardigan, and with self-deprecating irony invites the audience to cram with mighty forces the stage that stands empty of all props. It might almost be a metaphor for heroism.
Henry V will be broadcast to cinemas on Saturday, October 21. It continues at Stratford to October 25 before transferring to London.
