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kestrellYesterday LJ user alexx_kay and I went to see a matinee of "Henry IV, Part I" produced by the Actors Shakespeare Project, a local company of which we are quite fond as they typically produce quite lively and original versions of Shakespeare's plays and always give us plenty to talk about when we are Shakespeare geeking.
ASP's production of "Henry IV, Part I" did not disappoint. It opened with a ballad, "The Three Rusty Sords" (see more below) sung by, I believe, the same actress who played the servant in ASP's recent production of "Timon of Athens" (sadly, the ASP Web site is not terribly accessible, so it's difficult to locate this information). Then there is a bit from "Richard II" in which we see Richard being forced to relinquish the crown to Henry Bolingbroke, who will become Henry IV. From a blind person's point of view, this play can become rather confusing as it features a lot of characters who are prone to switching sides politically, and this is further muddied byt he fact that many of the actors and actresses double up on playing roles. This may not have been quite so confusing except that the actors don't always vary their delivery styles when they switch parts.
On the other hand, this confusion regarding who is on whom's side complements the action of the play, in which loyalties are constantly buffeted by family affiliations, the changing political winds, and the paranoia of Henry IV, who is disturbed by his own culpability in the downfall and death of Richard II.
There is a nice balance between the psychological exploration of a number fo the characters and the action of the play, mostly revolving around Hal and his sidekick, John Falstaff. This is a most excellent Falstaff, and the performance of Hal is given the depth required for one to understand that this is a young man with two fathers, who both have valuable lessons to teach him, although Hal will make certain that he cuts all ties with anyone who might wield power over him as the kingmakers would wield over Henry IV.
There are a number of opportunities to see part 1 and 2 of Henry IV on a single day with a long dinner break in between, and there are a number of other events such as
Sunday 11/14: with the acting company of The Coveted Crown
and
Sunday 11/21: with Robert Walsh, Violence Designer (& Falstaff) of The Coveted Crown.
Check out the events at
http://actorsshakespeareproject.org/season7/henry.html
I would also note that if you have a mobility impairment, use a cane or wheelchair, you may wish to call the theatre ahead of time regarding access, as the complicated staging og the play means that it is a long walk tot he seats with many stairs up and down on the way.
Another aspect which I did enjoy was the music, which was selected and arranged by one of the performers associated with the Revels--here is a lengthy quote From an online article by the Dorchester Reporter, provided here as the original is in PDF.
block quote start
Both plays are being directed by Patrick Swanson,
who in addition to having helmed ASP’s “King Lear”
and “The Tempest,” has worked as Artistic Director
for the Christmas Revels for decades.
Swanson uses his Revels’ background with
English folk theater (particularly the amateur
theatricals produced by tradesmen in medieval
guilds) in the way he stages the play. Before
Shakespeare’s work starts, a prologue presents the
ASP cast as members of “The Guild of the Three
Rusty Swords”:
“We have come here to tell you a story
Concerning young Harry le Roy
Of his victories and his achievements
Even though he was wild as a boy
Our actors have no fine apparel
They only have three rusty swords
But they’ll do their best to entertain you
When that they step out on these boards. “
Swanson adds, “The self-professed mission of
Actor’s Shakespeare Project is to embrace the
idea of ‘poor theatre’ and to wear their ‘poverty’ on
their sleeve; simple sets and costumes, intimacy,
an emphasis on telling the story in Shakespeare’s
words rather than elaborate directorial concepts
and ‘rich’ production values.”
“Our production is a referendum on the nature
of leadership and the education of a ruler from the
viewpoint of the commoner,” Swanson summarizes.
“We think this is a pretty lively topic for 2010.”
The plays run in repertory from September 29
through November 21. On certain Saturdays those
up for a double-header can see Part 1 at 3 p.m. and
Part 2 at 8 p.m. with a long dinner break in between.
Midway Studios at 15 Channel Street is a short
walk from either the Broadway or Andrews T stop.
Details at http://actorsshakespeareproject.org
block quote end
ASP's production of "Henry IV, Part I" did not disappoint. It opened with a ballad, "The Three Rusty Sords" (see more below) sung by, I believe, the same actress who played the servant in ASP's recent production of "Timon of Athens" (sadly, the ASP Web site is not terribly accessible, so it's difficult to locate this information). Then there is a bit from "Richard II" in which we see Richard being forced to relinquish the crown to Henry Bolingbroke, who will become Henry IV. From a blind person's point of view, this play can become rather confusing as it features a lot of characters who are prone to switching sides politically, and this is further muddied byt he fact that many of the actors and actresses double up on playing roles. This may not have been quite so confusing except that the actors don't always vary their delivery styles when they switch parts.
On the other hand, this confusion regarding who is on whom's side complements the action of the play, in which loyalties are constantly buffeted by family affiliations, the changing political winds, and the paranoia of Henry IV, who is disturbed by his own culpability in the downfall and death of Richard II.
There is a nice balance between the psychological exploration of a number fo the characters and the action of the play, mostly revolving around Hal and his sidekick, John Falstaff. This is a most excellent Falstaff, and the performance of Hal is given the depth required for one to understand that this is a young man with two fathers, who both have valuable lessons to teach him, although Hal will make certain that he cuts all ties with anyone who might wield power over him as the kingmakers would wield over Henry IV.
There are a number of opportunities to see part 1 and 2 of Henry IV on a single day with a long dinner break in between, and there are a number of other events such as
Sunday 11/14: with the acting company of The Coveted Crown
and
Sunday 11/21: with Robert Walsh, Violence Designer (& Falstaff) of The Coveted Crown.
Check out the events at
http://actorsshakespeareproject.org/season7/henry.html
I would also note that if you have a mobility impairment, use a cane or wheelchair, you may wish to call the theatre ahead of time regarding access, as the complicated staging og the play means that it is a long walk tot he seats with many stairs up and down on the way.
Another aspect which I did enjoy was the music, which was selected and arranged by one of the performers associated with the Revels--here is a lengthy quote From an online article by the Dorchester Reporter, provided here as the original is in PDF.
block quote start
Both plays are being directed by Patrick Swanson,
who in addition to having helmed ASP’s “King Lear”
and “The Tempest,” has worked as Artistic Director
for the Christmas Revels for decades.
Swanson uses his Revels’ background with
English folk theater (particularly the amateur
theatricals produced by tradesmen in medieval
guilds) in the way he stages the play. Before
Shakespeare’s work starts, a prologue presents the
ASP cast as members of “The Guild of the Three
Rusty Swords”:
“We have come here to tell you a story
Concerning young Harry le Roy
Of his victories and his achievements
Even though he was wild as a boy
Our actors have no fine apparel
They only have three rusty swords
But they’ll do their best to entertain you
When that they step out on these boards. “
Swanson adds, “The self-professed mission of
Actor’s Shakespeare Project is to embrace the
idea of ‘poor theatre’ and to wear their ‘poverty’ on
their sleeve; simple sets and costumes, intimacy,
an emphasis on telling the story in Shakespeare’s
words rather than elaborate directorial concepts
and ‘rich’ production values.”
“Our production is a referendum on the nature
of leadership and the education of a ruler from the
viewpoint of the commoner,” Swanson summarizes.
“We think this is a pretty lively topic for 2010.”
The plays run in repertory from September 29
through November 21. On certain Saturdays those
up for a double-header can see Part 1 at 3 p.m. and
Part 2 at 8 p.m. with a long dinner break in between.
Midway Studios at 15 Channel Street is a short
walk from either the Broadway or Andrews T stop.
Details at http://actorsshakespeareproject.org
block quote end
