‘Henry IV’ Review: Two Plays Become One

A Royal Drama Unfolds: Exploring the Intricacies of Shakespeare’s "Henry IV"

The story of Shakespeare’s "Henry IV" is often reminiscent of a setup, either for a joke or a pivotal moment in English history. This duality is perhaps the most defining—and challenging—aspect of the Henry plays, which masterfully blend the interpersonal comedy of character-driven narratives with the political intrigue and complexity of a war drama. While these plays often defy traditional dramatic structures, they provide a rich tapestry of ambition, loyalty, and the burdens of leadership. Theater for a New Audience’s latest production, which condenses the two "Henry IV" plays into a single adaptation, offers a fresh perspective on these timeless themes, even if it occasionally falters in Its execution.

The Struggle for the Crown: Power, Loyalty, and Rebellion

At the heart of "Henry IV" is the story of Henry Bolingbroke, a monarch who has seized the crown with the help of the Percys, a powerful family of English nobles. However, this alliance is short-lived, as the Percys soon turn against Bolingbroke, sparking a rebellion that threatens to destabilize his rule. Meanwhile, Bolingbroke’s son, Prince Hal, is more interested in carousing with the charismatic but disreputable John Falstaff and his crew than in assuming the responsibilities of royalty. The interplay between Hal’s frivolous escapades and the looming political chaos forms the emotional core of the play, culminating in Hal’s eventual transformation into the formidable King Henry V by the end of the story.

The relationship between Hal and Falstaff is one of the most fascinating aspects of the play. Serving as both a father figure and a foil to Hal, Falstaff represents a world of hedonism and moral ambiguity, while Hal embodies the future of the monarchy. Their dynamic is fraught with tension, as Hal struggles to reconcile his loyalty to Falstaff with his growing sense of duty to the crown. Falstaff, for his part, is a tragic figure—comic in his excesses but ultimately doomed by his own flaws and Hal’s inevitable rise to power. Despite his comedic role, Falstaff’s underlying pathos adds depth to the narrative, making him one of Shakespeare’s most enduring and complex characters.

A Theatrical Experiment: Condensing Complexity into a Single Play

The Theater for a New Audience’s production, adapted by Dakin Matthews and directed by Eric Tucker, is an ambitious attempt to condense the two "Henry IV" plays into a single, cohesive narrative. Clocking in at nearly four hours, the production leans into the grandeur of Shakespeare’s history plays while striving to maintain a sense of intimacy. Matthews’ script successfully streamlines the material, focusing on the central arc of Hal and Falstaff’s relationship. However, the production’s lengthy runtime sometimes feels overextended, as certain scenes lack the emotional nuance needed to sustain the audience’s engagement throughout.

The staging, directed by Tucker, opts for a minimalist approach, with a small platform stage and a matter-of-fact aesthetic that eschews grandeur in favor of simplicity. Actors enter and exit through the audience, creating a sense of immediacy and breaking down the fourth wall. While this choice enhances the production’s accessibility, it occasionally results in a clinical, detached feel, particularly in scenes where the harsh lighting and restrain. costume design, while historically accurate, struggles to balance the muted tones of the period with the emotional intensity of the narrative.

Performances That Shine and Fall Short

The cast of this production is a mixed bag, with some performances standing out as highlights while others feel uneven. Elijah Jones, who plays Prince Hal, delivers a performance that feels somewhat ambivalent, struggling to fully convey the character’s internal conflict between his loyalty to Falstaff and his growing sense of duty to the crown. His transformation into King Henry V feels somewhat abrupt, leaving the audience to wonder if the character’s shift is fully earned. Jay O. Sanders’s portrayal of Falstaff, on the other hand, leans heavily into the character’s comedic aspects, reducing him to a boisterous clown rather than exploring his deeper vulnerabilities. While Sanders’s performance is undeniably entertaining, it fails to capture the tragic complexity of Falstaff’s character.

In contrast, some supporting actors rise to the occasion, bringing much-needed energy and depth to the production. Jordan Bellow shines as Poins, Hal’s friend and confidant, infusing the role with a sense of playful mischief and camaraderie. James Udom is equally impressive, switching seamlessly between the proud and volatile Hotspur and the slouching, comedic figure of Pistol. Steven Epp also delivers a standout performance, bringing both humor and gravitas to his roles as the dry-witted Worcester and the bumbling tavern waiter Francis. These performances help anchor the production, even when the main characters struggle to connect on a deeper level.

A Production of Ambition and Flaws

Ultimately, Theater for a New Audience’s "Henry IV" is a production of ambition and flaws, offering a fresh perspective on Shakespeare’s classic plays while falling short of fully realizing their emotional potential. The script’s streamlined structure and the direction’s minimalist staging are commendable, but they often come at the expense of the characters’ depth and nuance. Despite these limitations, the production succeeds in capturing the essence of Shakespeare’s exploration of power, loyalty, and identity, leaving the audience to ponder the high cost of ambition and the enduring legacy of the Henriad.

In the end, the true magic of "Henry IV" lies in its ability to balance humor and heartbreak, as the audience witnesses the transformation of a wayward prince into a king and the tragic fall of a larger-than-life figure. While this production may not fully realize the tragic and comic heights of Shakespeare’s text, it remains a thought-provoking and engaging interpretation of a timeless classic.