Henry V

It’s “once more unto the breach” for Megan Dansie, as she directs another successful Shakespearean production at the Little Theatre.

Henry V, first performed around 1599, is a celebration of the British victory at Agincourt (1415) during the Hundred Years' War against France. Young King Henry V(Nick Duddy) has just assumed the throne. He has consorted with thieves and drunkards at the Boar’s Head Tavern and in trying to live down his wild past and achieve the respect of his subjects, embarks upon an invasion of France. This is sparked by an insulting message sent by the Dauphin of France.

The invasion affects all in England, including his old friends from the Tavern. The English fight their way across the country, conquering the town of Harfleur. Among the officers in King Henry’s army are men from all parts of Britain.

The story includes what happens the night before the Battle of Agincourt and on the day of the battle, when he gives his famous St Crispin’s Day speech to his soldiers and when, miraculously, the English win and the proud French surrender.

This production takes a new approach, staging the opening in full light in a therapy group for PTSD patients. The therapist emerges from this scene to become the Chorus (Peter Davies), who ably leads us as a friendly guide, assisting us to navigate the play. He speaks with clarity and draws the audience in well, with movement that is natural and interesting to watch.

To carry a play like Henry V, one of England’s best-known heroic monarchs, one needs an actor who can be the embodiment of the ideal Christian king. Nick Duddy does a sterling job, displaying great passion and poise. His clear, impressive voice andnuanced facial expressions, gestures and general physicality reveal Henry the man and Henry the king. The sheer volume of lines and challenging monologues are handled beautifully and we see the contrasts of this man - pious, politically astute, learned and gentle. The speech for which this play is famous - the “St Crispin’s Day Speech” - delivered by Henry as his army of 9,000 prepared to face France’s 36,000, is one which needs to highlight Henry’s ability to motivate and lead his men.

Duddy speaks well, however I felt that it needed more power to encourage the comradeship required; to feel that I too could rise up from my seat to join him. Having said that, his performance is on the whole powerful and sincere and his Henry certainly is accessible to the audience.

Steve Marvanek, as the Duke of Exeter, gives yet another solid performance, with great posture and demeanor, and a voice which commands us to be alert and feel that Henry is always in good hands, safe and well informed.

Whilst all of the ensemble, bar Henry and Exeter, play multiple roles it is not possible to discuss all in this space, so my attention will be directed to specific characters that stood out for me.

Matt Houston as Fluellen was wonderful - a real star. His performance is funny and down to earth and his Welsh accent a triumph. Lindsay Dunn, playing multiple roles, is excellent as the politically shrewd and learned Archbishop of Canterbury, while contrasting as the delightfully earthy ruffian, Nym.

Gary George is eminently watchable as Pistol, bringing a great deal of humour to the show as well as great physicality and presence. Georgia Stockham, also playing multiple roles, stood out as Mistress Quickly - terrifically naughty, but at the same time warm and compassionate.

Dylan O’Donnell’s portrayal of Henry’s foil, the Dauphin is beautifully arrogant and cavalier. His performance of the character as ‘out of touch’ and comic was excellent. Another standout from the ensemble is Guy Henderson - a lovely performance - witty and perceptive, and speaking very impressive French. Princess Katherine and her companion Alice are played with great intuition by Ellie McPhee and Angela Short. Their French is flawless.

Whilst certain characters deserve specific mention, it is important to note that this is a close-knit ensemble piece and all perform with poise and clarity.

I was immediately struck by the simple yet effective staging of this production, utilising chairs to great effect as battlements and locations. Costuming by Megan Dansie cleverly kept the contemporary feel through use of t-shirts and army fatigues, but paid homage to the era by using colour and emblems (the Fleur de Lys and English Flag). This was extended in projection to the upper wall, a touch also clever in its simplicity.

Sound by Tim Allan and lighting by Richard Parkhill added to this by setting the battles in a modern world of gunfire, sirens and explosions.

It would be remiss also not to praise the use of music in this production. An acoustic guitar background by Lindsay Dunn and Guy Henderson of “I was only 19” on the battlements was not only apt but very poignant, while the impressive choral performance of “Non nobis Domine” was moving.

Not usually being a huge fan of Shakespeare I left this production again impressed by the variety of The Bard’s works and interested to find out more about this period of English history.

Dansie’s production is powerful and accessible. In utilising the space well, giving it a semi contemporary setting and having such a strong team of actors, she has definitely created a very watchable piece of theatre.

Shelley Hampton

Images: Matt Houston and Robert Bell as the Duke of Orleans and the Constable of France; Nick Duddy as Henry V; Georgia Stockham and Gary George as Mistress Quickly and Pistol; and the cast of Henry V.