Ian McKellen becomes the fat of the land in this new adaptation of Shakespeare’s Henry IV duology, currently playing in the West End before embarking on a limited tour across the UK. Guillermo Nazara shares his views on the show, to let us know if this revised take on the Bard’s historical narrative is actually a very ragged wart.
“An if we live, we live to tread on kings. If die, brave death, when princes die with us!”. Shakespeare’s epic wording serves as both omen and warning for the stirring turmoil of emotions we are about to go through. A tale of passion, betrayal, revenge and deception, no other work encapsulates all of the Bard’s major themes in such a raw, compelling and shocking manner as his ominous portrait of the English throne succession. An immortal set of plays whose characters transcend the page and stage, the many transformations this piece has faced over the centuries aren’t, by any means, scarce – from visuals to writing, with some directional choices not far from deserving the same destiny as its comical anti-hero.
Last week, the West End welcomed back one of its most acclaimed thespians, in ambitious attempt at delivering a full cycle for Henry and son’s ill-fated path. Player Kings: Shakespeare’s Henry IV Parts 1 & 2 returned the vehement zeal of the author’s historical drama, in a most powerful, climactic depiction soaring over the writer’s striking lines. An enduring performance with almost as much condensity as its title, Robert Icke’s take on one of the author’s signature creations managed, anyhow, to leave an imprint of its own – weaving an immaculate tapestry of flawless craftsmanship.
With both direction and script adaptation by Icke, the production is, with no exaggeration, an utmost triumph of theatrical intuition, understanding and imagination – blending all of its components in a perfect swing that truly lifts the narrative off, taking it to a more singular, gripping and significant level through its crude realism and thrilling dynamism. Relying on a bricked black-box layout as the core of its staging, Hildergard Bechtler’s obscure staging exudes nothing but brilliance thanks to its extremely intelligent use of props and curtains (all of them put together through seamlessly -sometimes, surprising- choreographed transitions), rendering each of the piece’s much different ambiances with impeccable ability, and building an unique atmosphere for every moment while keeping a cohesive undertone all throughout.
In addition, Lee Curran’s lighting makes a staggering contribution to the montage’s overall feel – putting up mood, colour and flavour to every excerpt, while also carrying out a good bunch of impressive illusions that provide nothing but absolute verity to Shakespeare’s uncomplicated settings, especially when it comes to its battle-themed scenes. Another mention is worth being given to Gareth Fry as the Sound Designer, honing an incredibly elaborate soundtrack that gives a final but indispensable touch to the account’s final outcome – through a superb use of music and effects that not only enhance the plot’s colour and character, but manage to lead it every time they join in.
However, the crowning gem in this intricate assortment is yet to make its entrance, and that’s given by no other element than the production’s extraordinary cast. Boasting exceptional abilities to make the Bard’s words resonate with both grace and frankness, their sheer comprehension of the writing’s underlayers is beyond refreshing – making every quote sound piercingly genuine, while maintaining the musicality of its prosody.
Among them, a first shout-out goes to Toheeb Jimoh and Clare Perkins in the respective roles of Prince Harry and Mistress Quickly, both delivering a rather natural and inviting portrayal of their personages, endowed with honesty and some slight complexity – an accomplishment further epitomized by Samuel Edward Cook’s distressingly solid representation of Hotspur. On the other hand, Richard Coyle also regales us with an astounding rendition as King Henry IV, executing (apart from his enemies) an awfully charismatic interpretation encapsulating the part’s essence, while also enriching it with a discreet yet sufficient stroke of humanity.
Nonetheless, the greatest praise is, unlike a Shakesperian plight -except for the fact that they’re all doomed-, quite predictable. Ian McKellen brings the house down with his ovation-deserving (and receiving) performance as the mischievous rascal Falstaff, oozing so much charm and likability in his approach (as well as remarkable spontaneity), his long-confirmed dexterity under the spotlight is just once again reassured through the sincerity and ease of his acting.
3 hours and 40 minutes of two classic plays jammed together during one same evening… The prospects of viewers (and more specifically -and unsurprisingly- the critics) asking for theatrical asylum won’t probably be scarce. But if after leaving your fears outside (as that’s where I’ll be waiting…), you still can’t feel any infatuation towards what’s, unarguably, a glorious show, then maybe your course in the West End should conclude.
Give it 6 hours and I would had stuck around anyhow. Give it a week, and I would sacrifice my sleep not to miss any single detail of it. Because there’s so much to see and discover, I would be stunned if I don’t find myself paying a second visit soon (now it’s time for my plus ones to repay the favour, I’m still cheap). Come for the names and stay for the quality. And afterwards, let yourself be taken by those rare chills that only real art can hit us with.
All pictures credit to Manuel Harlan.
Player Kings plays at London’s Noel Coward Theatre until 22 June before its limited UK tour. Tickets are available on the following link.