Review by Stuart Miller…
The first of Shakespeare’s two “Henry IV” plays is extremely popular and frequently produced; the second one, which can become repetitive at full length after the first, not so much. (Part 1 has been produced three times at Shakespeare in the Park, its sequel just once.)
The plays are also unusual in that the title character is, at best, the third or fourth most interesting and important character, in what is essentially the origin story prequel of the hero of “Henry V.” The plays revolve around wanton young Prince Hal on his journey, as he realizes that with great power comes great responsibility, eventually causing him to defeat his rival, Henry “Hotspur” Percy” and to disown his mentor in scandal, Sir John Falstaff.
At Theater For a New Audience, Dakin Matthews, a renowned Shakespearean actor and scholar, has hacked down the two plays, combining them into one 3 hour 45 minute production.
(This is not unique: Jack O’Brien combined them at Lincoln Center in 2003 and, more famously, Orson Welles lifted all the Prince Hal and Falstaff material from these two plays plus three others for “Chimes at Midnight.”)
The play is overly long, even as some cuts leave characters underdeveloped: in the final act (from Part II), when we briefly see the Archbishop who was a key player in the rebellion against the king, the context surrounding his betrayal has been cut so there are no stakes. And the show definitely sags when political machinations and duplicitousness are foregrounded, though that is not Matthews’ fault– Shakespeare does that better, with more clarity, drama and humor in plays like “Othello” and “Richard III.”
But despite those flaws, and the mixed results of staging it in the round, the production is worth seeing, both for the central relationship between Prince Hal and Falstaff and for the strong cast.
Shakespeare wrings every drop of entertainment value for Prince Hal’s ruffian days but also foreshadows the ultimate showdown between the young royal and his rotund and orotund companion. The scenes with Prince Hal and Falstaff and the scenes where Hotspur strides around the stage, brimming with anger and ambition are fully alive and keep you wanting more.
Elijah Jones is dynamic as Prince Hal, capturing the raw energy of youth before his transformation into a leader-in-waiting although he is outshone by his rival– James Udom radiates intensity as Hotspur, while also bringing a deft comic touch to his second role Falstaff’s fellow traveler, Pistol (his exaggerated performance with his eyes and voice carries a whiff of “Key & Peele” yet works perfectly here.)
But for the play to work you need a pitch perfect Falstaff and Jay O. Sanders, veteran character actor of stage and screen, is up to the task, generating the laughs Shakespeare has generously written for him throughout, but also bringing that touch of self-awareness the character needs. As Sanders’ Falstaff bluffs and blusters you get the sense that on some level, perhaps subconsciously, he knows his gluttonous dreams will be his ruin, that his hopes will be not only unfulfilled but thoroughly dashed.
Sanders also gives proper heft (so to speak) to Falstaff’s one serious point, when he casts doubt on the purpose of “honor,” of dying for a cause when said cause benefits only the king and others at the very top of society– given the Vietnam or Iraq and Afghanistan wars of the last sixty years, it’s certainly one worth repeating.
There are other solid performances throughout: Matthews, 84, captures Henry IV’s frustrations and vulnerability; several actors like Jordan Bellow, Cara Ricketts and Elan Zafir perform well in multiple roles, most notably Steven Epp, who shows off his range as he shifts from the power hungry Earl of Worcester to the lowly Francis, always bumbling and beholden to those in a station above him;
The intimate space, with a tiny square stage usually with just a couple of chairs and surrounded by the audience on all sides, thrusts us squarely into the action… when we can see clearly. The play may have been better served with the audience on just three sides to avoid crucial scenes (like Hal holding Hotspur as he dies) where one-fourth of the orchestra seats see only the back of their heads (which also makes hearing the quieter dialogue a challenge.)
Director Eric Tucker also undercuts one of his other excellent choices: for much of the play, the lack of props and set are part of a production that feels like it could have been at Shakespeare’s Globe (with electricity); the opening scenes are done with the house lights on so there’s no one spotlight, we are just fully in this entire world, as actors enter and leave the action from seats amongst the audience or coming down the various aisles. When Falstaff and friends venture out at night to commit a robbery, the spooky sounds are created by actors playing basic wooden instruments or even just creating animal whistles themselves. It’s one of those cases where the obvious artifice ironically creates a charming authenticity. But when the battle scenes come, Tucker feels the need to make up for the small stage and cast by blaring music and ominous sound effects. It’s the kind of artifice that reminds you of the shortcomings of a battle scene done in the theater.
Still, “Henry IV” is worth seeing– it hasn’t been done on Broadway in two decades and at the Delacorte for nearly four decades (and since 1968 for Part II) and most of the problems are overcome by Matthews’ adroit adaptation, Tucker’s direction and the cast’s charisma.
“Henry IV” is playing at Theater for a New Audience, 262 Ashland Place in Brooklyn through March 6th. Running time: 3:45 including two intermissions.
Photo credits: Hollis King (1,2,3,4,7) and Gerry Goodstein (5, 6)
