Once More Unto the Text, Good Friends!

Hamlet Isn't Dead (HID) is a young theatre company in NYC dedicated to presenting Shakespeare's canon in chronological order.  Which means that with this latest offering of a riotous and nuanced Henry V, they've completed both Henriad tetralogies and all of the histories - barring only the contested Henry VIII, which they promise they (sigh) will eventually get to.

HID's brand is nothing if not enthusiastic, incorporating intimate theatre stripped back to the text and buoyant interactions with the audience, much like Shakespeare's groundlings might have experienced.  With Henry V, the company presents its first all-female cast under the direction of Dr. Valerie Clayman Pye, and the result is electric.

Shakespeare's histories can sometimes become difficult to follow, with characters addressed by their titles, and those titles constantly shifting.  Henry V, one of Shakespeare's most accessible history plays, streamlines the story of the warlike Harry down to his invasion of France - here helped with smart and stylish costume design of red and blue, with fitted jackets and repurposed jewelry to give the illusion of military regalia.

James Rightmyer, Jr., Assistant Director to the production and Executive Director of HID, offers one of the most intelligent cuts of the script I have ever seen, combining extraneous characters and moving scenes around to introduce the French court early, and increase the tension of Harry's impossible gambit.  The show is underscored with drums played live primarily by Erica Huang as Gower, sometimes played from behind the audience to keep us all on the bloody fields of France.

The cast works truly as an ensemble, so that it seems almost disingenuous to single any one actor out for her contribution to the whole.  Amelia Cain plays the Chorus solo, inviting the audience's imagination to take wing.  Paige Espinosa shines as the French Dauphin, hitting the right mix of cockiness and absurdity.  The French court, comprised of stately Charlotte Harvey's King, Caroline Osborn's innocent Katherine, and the always-hilarious Samantha Maurice's Queen, prove good foils for their English counterparts.  Notice should also be given to Olivia Cygan's Montjoy, the French herald, who brings simplicity, fear, admiration and steadfastness to what otherwise might have been yet another messenger role.

The English nobles, including Kellly Karcher's wide-eyed Westmoreland, and Claire Alexander's powerful Exeter own the stage beside their noble king.  While April Glick, Erica Huang and Abigaile Slocum mug and tumble admirably as their clowns and private soldiers, led by  Valerie Terranova's winklingly delightful turn as Fluellen - here transformed from a Welsh to a Spanish capitán to the delight of all. 

However, no matter the strength of the ensemble, uneasy lies the play without a lead, and many an otherwise wonderful Henry V has fallen flat because the war-like Harry was only serviceable at best.  There is, in fact, a danger to how Shakespeare wrote this incarnation of one of Britain's greatest kings.  Henry is given enormous speech after enormous speech - all of them good, but which can ultimately tax the listener, or invite the actor to play "noble," or "angry," rather than delving for every nuance.  We forget that Shakespeare was writing for his leading man, Richard Burbage: the same man who could milk comedy next to tragedy as either Hamlet or Macbeth.  What is needed for a Henry V to succeed is an actor of similar dexterity.

Fortunately, HID's Henry V is anchored by none other than long-time company member, Megan Greener.  With sharp features and a deadpan wit, Greener shines best when given wry lines: whether cutting to pieces the insulting gift of tennis balls that begins the play, or attempting to woo the French princess by the journey's end.  Her heroic moments thrill as well, such as entering fearlessly to the sound of drums for "Once more unto the breach."  Old canards sound new in her mouth, so that the St. Crispin Day's speech - a speech that I have heard so often as to cringe at its first lines - is given new breath, new desperation, new hope and vitality in Greener's honest telling.  While her speech considering the heaviness of her office is given all the painful weight of a Hamlet considering his position. 

The all-female casting can often be a gimmick: a desperate ploy to appeal to modern sensibilities; a conceit forced on a production with no real illumination.  Not so here.  When the result of such fierce and intelligent casting is that we get to see the best of each of these fine actors, there is only admiration and joy.

Hamlet Isn't Dead's Henry V is one of the best productions of this play it has been my pleasure to attend.  Highly recommended.

Henry V plays at the Westbeth Artists' Community at 55 Bethune Street, NYC through Saturday, August 5, 2017.

Tickets are $25 online/$30 at the door.  Purchase tickets through Brown Paper Tickets.

Megan Greener gives a funny and formidable performance as the titular King Henry V.  (Photo courtesy of Hamlet Isn't Dead.)

Kelly Karcher and Paige Espinosa battle to the death in Hamlet Isn't Dead's Henry V.  (Photo courtesy of Hamlet Isn't Dead.)

Caroline Osborn, who also plays Katharine the Princess of France, caught in a thoughtful moment.  (Photo courtesy of Hamlet Isn't Dead.)

How Do You Solve a Problem Like Prince Hal? Read the companion piece to this review on Patreon! 

"The beauty of Shakespeare's best roles is their complexity. The joy of the history plays is that they are all of a piece, and we can track the trajectory of a boy playing at prince to a man becoming king. But to lose any part of the paradox of a person is to lose the performance."

New blog post available to all patrons on Patreon from $1/month and up!