The Horrors of War

Henry V

In a limited, four-week run, Chicago Shakespeare Theatre has revived and reimagined one of the Bard’s most popular history dramas. The company’s sensational new, eloquent and rousing production is as stirring as ever. For theatre scholars, this is William Shakespeare’s final chapter in his tetralogy of historical dramas, which includes “RICHARD II and “HENRY IV,” Parts one and two. It’s also noteworthy in that this play was the company’s premier production on the rooftop of Lincoln Park’s Red Lion Pub, back in 1986. Naturally, time has brought changes to one of Chicago’s finest professional theatrical companies, but the Theatre’s ability to share the dramatic power of Shakespeare has only become stronger.

Both audiences and critics disagree about the play’s theme. Often considered a celebration of patriotism that’s generated by this brave young monarch’s successful conquest of France, the play can also be seen as a reaction to the horrors of war. And Artistic Director Edward Hall’s powerfully fierce production is just that. His HENRY V, staged virtually all over the Courtyard Theatre, not only pushes this theme but, with its contemporary look, reminds theatergoers of the current devastating combat and bloodshed in places like the Ukraine and the Middle East. In his previous plays, Shakespeare painted Prince Harry as a wild, irresponsible party boy, but in this drama his King Henry has matured into a wise, young ruler. During the early scenes we learn that Falstaff, Hal’s former drinking pal, has passed; however, three of his other buddies, Pistol, Nym and Bardolph, continue to be loyal and critical comrades, providing much of the play’s welcome humor.

Hall’s savage new production still focuses on the importance of Shakespeare’s words. Each member of his accomplished, talented cast (and this is one large ensemble of actors, many playing multiple roles) speaks the Bard’s poetry with understanding and clarity. Playgoers won’t complain about not understanding the actors in this production. Scott Aiello’s work, not only as Nym, but as Voice and Dialect Coach is effective. So is the profound contributions of Fight & Intimacy Director, Rachel Flesher, who brings a breathtaking realism and immediacy to the many battle scenes. The storytelling in this production is superb. Scenes onstage are beautifully played out upon Michael Pavelka’s deceptively simple-looking set, filled with special effects. And then actors can be seen continually running around the house balconies and up and down the aisles. Hall’s production is almost immersive in this new vision of HENRY V. 

Both Marcus Doshi’s finely designed dramatic lighting and Emily Hayman’s thundering sound design, along with Jon Trenchard’s original music, bathes this production in riveting visual and auditory impressions. Mr. Pavelka’s modern-day English military costumes are contrasted by the softer colors and insignias worn by the French. The lovely period gown worn by Princess Katherine is equally clever and camp, with Alice, her lady-in-waiting, dressed in tailored military garb.

With an impressive resume mixture of both classical and contemporary productions, actor Elijah Jones brings a powerful and youthful earnestness to his portrayal of the young King. There’s no denying that Mr. Jones absolutely owns this production and the temperature of the play changes with his every appearance. Mr. Jones’ subtle journey from eager, determined lad, to a war-weary national hero, is superb. He stirs the blood with all his words, especially in his famous St. Crispin’s Day speech, as he leads his soldiers to victory at the Battle of Agincourt. Jones’ physical prowess and good looks add to the majesty of this monarch. The always excellent Sean Fortunato plays Charles VI, King of France, with a sad discontent and frustration. He’s also excellent as Sir Thomas Erpingham and the Duke of York. Demetrios Troy is hilarious as a bombastic and bearded Ensign Pistol, as well as the Duke of Burgundy and serving as the production’s Fight Captain. 

Rachel Crowl makes their auspicious CST debut, both as a very funny Welsh Captain Fluellen and as Sir Thomas Grey, creating two completely different personalities. Alejandra Escalante’s young French prince, the Dauphin, is a macho, waggish techno terror in this production. The youthful character provokes laughter with the Prince’s false bravado. Escalante contrasts this character with their Mistress Quickly and the Bishop of Ely. Young actor Courtney Rikki Green is wonderful and touching as the Young Lad, holding their own with some of Chicago’s heavy hitters. And Ms. Green is both beautifully elegant and eloquent as French Princess Katherine, while Kate Fry brings wisdom, humor and a fluency in French to both Alice and Monsieur Le Fer, also nicely portraying the Earl of Westmoreland.

Artistic Director Edward Hall’s riveting, contemporary-looking revival of one of William Shakespeare’s most exciting and thought-provoking dramas. It’s a play filled with action, violence and bloodshed. This new production will most certainly bring to mind the terrible current events playing out on the world stage, while thrilling even the most complacent patron. Mr. Hall’s production, peppered with a few songs and a bit of dance, offers moments of visual beauty and spoken eloquence. A talented cast working together with some of Chicago’s finest theatre technicians and guided by a brilliant director is always a recipe for success. In Edward Hall’s timely and emotionally stimulating production that extols the horrors of war, excellence is even surpassed.

Recommended

Reviewed by Colin Douglas

Presented September 6-October 6 by Chicago Shakespeare Theatre in the Courtyard Theatre on Navy Pier.

Tickets are available by calling 312-595-5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.