Bell Shakespeare. Drama Theatre, Sydney Opera House. 25 Apr 2013
John Bell regards Henry IV Parts One and Two as amongst Shakespeare’s greatest achievements but I would guess most theatregoers would disagree. Indeed, Bell had to make the whole shindig palatable by condensing the two plays into a still too lengthy three hours plus intermission. Historically, we are concerned with Henry IV’s war against the Welsh and the Scots by his agent Harry Percy (Hotspur), the animosity between them caused by Henry’s route to the throne, and a subsequent disagreement leading to the Battle of Shrewsbury where Henry’s forces defeat the rebellious Hotspur, now united with the Scots. This, however, is not director John Bell’s battleground for the action. The focus is absolutely contemporary and of considerable social interest. Why do sons seem to waste every advantage given to them? Why do they hang around with zephyrs? What does it take to make them wake up and smell the coffee? It is in the transition of Hal, Prince of Wales, from feckless scion to monarch that the play tilts.
The production promises much in its overture of live garage grunge and a motley crew of bar flies. A backdrop wall of milk crates stacked to the rafters crashes to the ground to reveal the swagger of the king. And after that, save for a few memorable moments, I really wondered what all the fuss was about. Designer Stephen Curtis had the cast decked out in a mish mash of costumes, from bowling jackets representing the royal forces to ho hum 80s designer camouflage gear, like an amateur theatre company working on tuppence. The major fight scene - updated from swords to a West Side Story-style knife fight – was introduced with, guess what, strobe lights (lightning designer – Matt Scott). It was Mad Max meets medieval England as characters exited and entered from a freight container. The female parts are a drunken strumpet, played well by Matilda Ridgway, and the manager of the tavern. Wendy Strehlow in the latter role had a rapid and vapid monologue providing some mirth.
One thing the play did show is that it takes a lot of experience to be a good Shakespearean actor. David Whitney as the eponymous Henry gave several emotional speeches pregnant with the frustrations of parenthood. John Bell as the fallen knight Falstaff is already acknowledged as one of the greats and he once again demonstrates his virtuosity with the text. The remaining major parts are mostly taken by young men lacking the necessary gravitas while full of the bonhomie and back slaps that pass for affection in Shakespeare these days. Chief amongst them, Matthew Moore as Hal, was the least up to scratch and potentially miscast. He made vapid and uninteresting choices in characterising the lay-about Hal and his conversion to kingship was not compelling. I was rarely convinced any one of the louts were inebriated and even if I was, it’s pretty boring watching drunks when you’re sober. Save the scene with the chill in the air when Falstaff is encouraged to act the King in a dangerous drunken game, and is keenly tested by Hal.
Director John Bell describes Falstaff as Hal’s surrogate father, but the constant sniping and challenges to Falstaff’s tall tales by Hal throughout the play shows Falstaff as nothing but amusement to the Prince, who is well aware of his superior position in the den of bogans. Bell’s Falstaff made any excuse to pacify Hal and this might be interpreted as fatherly feelings for him, but surely his obsequious behaviour was for his own advantage when the Prince became king. Bell’s Falstaff was both a clown and odious, and after three hours, I lacked sympathy for his final rejection by Henry V.
That’s some of Shakespeare’s plays for you – a few thematic rough diamonds for today in a groundmass of words written long ago for the Globe. Whither the play itself, his adaptation, the insipid production or some vin ordinaire performances, director John Bell didn’t quite cut enough of those diamonds into gems.
When: 25 Apr to 26 May
Where: Drama Theatre, Sydney Opera House
Bookings: bellshakespeare.com.au
