Four hundred years after the Bard’s death, the Royal Shakespeare Company pays tribute with an ambitious presentation of Henry IV, Part I, Henry IV, Part II and Henry V. The triptych provides a fascinating look at medieval England during a great time of upheaval. Billed as King and Country, it will be performed in five cities: London, Beijing, Shanghai, Hong Kong and New York City.
Although the shows are currently running individually in London, they will be presented together for the first time this month for what Artistic Director Gregory Doran describes as “Prince Hal’s chronological journey from troubled youth to noble King.”
Taking on the plum role is rising star Alex Hassell. The affable Essex native jokes his character’s evolution can be viewed in his costumes. He starts Henry IV, Part I “in a pair of boxer shorts” and by Henry V, he dons the “posh frocks and great splendor” fit only for a king.
It's an amazing privilege to explore such a complex character over such a [long] period of his life,” he says. “It's so interesting to play one character on this wide a canvas – to allow him to develop at the speed of real life rather than in exciting dramatic peaks.”
Along with Richard II, the three plays presented in King and Country makes up Shakespeare’s second historical tetralogy, commonly referred to as the Henriad.
The plays provide a panoramic view of 15th century England from the royal court to the seedy taverns where audiences first find Prince Hal.
Joining him in this early carnage is his literal partner in crime, Falstaff. Describing the character as “one of Shakespeare’s greatest creations,” acclaimed actor Antony Sher can only agree with the assessment that his character is “a fat, vain, boastful and cowardly knight.”
“Yet, what's remarkable is how Shakespeare makes an audience love and care about what happens to him,” he adds. “In preparing for the role, I just had to learn to trust Shakespeare’s instincts – the more disreputable Falstaff is, the more he fascinates an audience.”
The three-time Laurence Olivier Award winner has added his own distinct take to one of the Bard’s most beloved characters.
“We’ve made Falstaff a kind of tramp, but a grand one,” he explains. “From clues in the text, we decided he probably came from a posh family but has wasted his life away. He still speaks in a very upper class way, yet his appearance is scruffy and dilapidated. We’ve also made him a real alcoholic, rather than just a man who likes a drink or two.”
While the two actors have been receiving rapturous response for the roles at home, they admit to being unsure of what the reaction will be in China. It will be the first time that the actors will visit China and Sher is confident that audiences will be satiated.
“Part of Shakespeare’s genius lies in the fact that he speaks to people all over the world,” Sher says. “Of course different cultures react to him in different ways. I can’t wait to see what the Chinese reaction will be.”
Although King and Country is the Royal Shakespeare Company’s first extensive tour of China, Doran promises that there is more to come.
“We are not only touring our work in China but are also in the midst of a translation project hoping to create a performance friendly Chinese play text starting with Henry V,” Doran says.
“We are also putting a call out for suggestions of classic Chinese plays, so that we can choose one to stage here at the Royal Shakespeare Company. It is very much a two-way cultural exchange that will continue for the next few years.”
> Beijing: Henry IV, Part I (Feb 18, 7.30pm), Henry IV, Part II (Feb 19, 7.30pm) and Henry V
(Feb 20, 7.30pm, and Feb 21, 2.30pm); RMB180-680. NCPA Theater, tickets.
> Shanghai: Henry IV, Part I (Feb 25, 7.15pm), Henry IV, Part II (Feb 26, 7.15pm) and Henry V (Feb 27, 7.15pm and Feb 28, 1.30pm), 7.15pm, RMB180-880. Shanghai Grand Theatre, tickets.
> Hong Kong: Henry IV, Part I (Mar 4, 8 & 11), Henry IV, Part II (Mar 5, 9 & 12) and
Henry V (Mar 6, 10, 12 & 13), 2pm matinees, 7.30pm evenings; HKD200-680. Lyric Theatre, tickets.
> Images by Kwame Lestrade and Keith Pattison, courtesy of Royal Shakespeare Company
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