Edward Hall’s Propeller company
announced its 2012 tour as consisting of “a brand new production of
Henry V and a re-visiting of our
acclaimed 2005 production of
The
Winter's Tale”. Correct in the second part, incorrect in the
first. The company’s first-ever all-male Shakespeare in 1997 may have
been a semi-promenade staging staged in the auditorium and gardens of
the Watermill near Newbury, but to all intents and purposes the
Henry V I saw onstage at the
Everyman Theatre in Cheltenham was the same production. It features the
same modern military fatigues and lusty singing (effectively the
Propeller house style for the more martial history plays), and the same
bewildering choice of an English army belting out The Pogues’ “A Pair
Of Brown Eyes”; the same bushels of tennis balls emptied on to the
stage as the French Dauphin sends his contemptuous reply to King
Henry’s Gallic claims; the very same Chris Myles performing
bilingually, as the Earl of Exeter and French Princess Katherine’s maid
Alice.
It also includes a similarly unengaging King. Fifteen years ago I
wondered whether “this feeling of constant calculation is attributable
to the character or the actor” [then Jamie Glover], but Dugald
Bruce-Lockhart’s current performance indicates that it is a staging
decision, so that not even his disguised journey through the English
camp on the eve of Agincourt, indeed not even his soliloquy in this
sequence, shows us a sympathetic, human king. Perhaps this is the
intention: to purvey the vigour and exhilaration of the military
expedition but allow us, when we look beyond the moment, to see that it
is hollow.
I did not see this
Winter’s Tale
on its first outing, so can make no such comparisons; I simply report
that it excellently hits all the play’s notes of royal and domestic
tragedy, rustic comedy and sentimental wonderment. Robert Hands’
Leontes is unreasonable but never psychopathic in his jealousy; the
all-male set-up means that Ben Allen can double his roles and so
suggest that the young prince Mamillius lives again in his lost sister
Perdita. Richard Dempsey doubles too, as a dignified Queen Hermione and
a most indecorous sherpherdess Dorcas. Tony Bell delivers the rogue
Autolycus’ patter at the sheep-shearing festival to the backing of an
ad-hoc band, “The Bleatles”. Vince Leigh has perhaps the most radically
diverse casting across the pair of shows, following up the bombastic
Pistol in
Henry V with the
plain-speaking yet not unmerciful Paulina in
The Winter’s Tale; Leigh is so tall
and robust that when Hands’ Leontes collapses following the realisation
of his jealous foolishness, he seems even slighter physically when
supported offstage by this Paulina. Leontes, in turn, seems later
rejuvenated by the arrival of the young lovers from Bohemia even before
he learns that one of them is his long-lost daughter.
Written for the Financial
Times.