(seen at the performance on 20th April 2024)
Just as Shakespeare wrote to the character acting strengths of his company, so director Robert Icke has shaped this marathon pairing of “Henry IV Parts 1 & 2” around his star Sir Ian McKellen.
The monkey admits that it has never seen another production of this pair of “Henry” plays (and appreciates the opportunity to take two steps closer to being a ‘Bard End’) to compare. Still, it is fairly sure Falstaff may not draw quite the focus in other versions that he is given here.
The opening scene saluting the King hints at a solid political work, war on everybody and plenty of charging around suppressing the French / northerners / anyone who looks at him a bit funny.
A quick swish of Hildegard Bechtler’s curtains over her walled set and we are in a disreputable tavern among Falstaff’s friends. And there we remain except for a few conversations (very neatly staged) between Loyal and Rebel forces by phone (modern set piece) and a decent battle before the end of the first play.
Young Prince Harry echoes his modern counterpart as Toheeb Jimoh falls in with the Inn rogues and happily robs and pillages without crown protection. Following his triumph as Romeo, Jimoh cements his claim as McKellen’s heir apparent, the pair thrilling to compare side-by-side.
Richard Coyle is an excellent King Henry IV. Authoritative and weak by turn, his final scenes in both plays executed to perfection and with notable timing. A worthy adversary is found in Nigel Lister’s Northumberland, but the King has the upper hand.
There is strong work from advisors to both sides. As Warwick, Annette McLaughlin has a modern Parliamentary air, while Joseph Mydell’s Lord Chief Justice is the balm of the Palace.
For the other team, Samuel Edward-Cook is a reliable Hotspur (and a rowdy Pistol) with Tafline Steen an asset to him and this production as his Lady.
Between them, Clare Perkins is all Mistress Quickly should be, Mistress of the House, doling out the charm etc and keeping Steen’s other role Doll Tearsheet mostly in check. Dan Rabin as Poins and Mark Monero as Peto are another equally disreputable and well-drawn duo. A note too for Alice Hayes, messenger and nurse, clipboard always in hand to keep the play moving.
If this time Robert Icke has perhaps not entirely fulfilled his usual endeavour to bring a lengthy and obscure work completely up to modern expectations of entertainment and engagement, the casting and his careful editing and direction go a fair way to excuse any faults.
Part 1 is typical Shakespeare History in many ways, as we learn of the betrayals and intrigues which lead to battle and resolution. The comedy levels and is woven into the plot for a satisfying whole.
Part 2, written (according to programme notes) to follow the commercial success of the first (nothing changes) is far more laboured with a philosophical and rather drawn out ending that rewards the attention somewhat less.
Pre-launch publicity stated that Ian McKellen was reluctant to take on a role he had never played before, and which held little appeal. Fortunately, Icke persuaded him, he did, as it fits him (probably) like the gloves Bill the Quill’s father used to make.
If the whole nearly four hours is more than a little much, to see this acting legend work with Jimoh – whose own legend we will celebrate in decades to come – makes this an unmissable ticket.
Part 1: 4 stars
Part 2: 3 stars
