Theatre / Reviews
Review: Player Kings, Bristol Hippodrome – ‘From the philosophy of honour to the wonders of sherry’
Look, star appeal is real. Star appeal sells tickets. But sometimes, as with Ian McKellen’s recent injury after falling from a West End stage, star appeal renders itself unavailable. C’est la vie.
In Player Kings, Robert Icke has intelligently condensed Shakespeare’s Henry IV Parts 1 and 2 into a near-four-hour behemoth.
The modern dress caters to Shakespeare newcomers, but the deeply historical play stays true to its root text — a story of serious unrest and impending transition.
is needed now More than ever
Much of its acclaim and draw may hinge on McKellen’s expected presence as St John Falstaff, but David Semark steps into the role sensationally. There are hints of Brian Blessed in his booming voice and command of space, drawing the eye in nigh-on every scene. His bumbling, decadent, scheming Falstaff is a spectacle in itself, and a testament to one of Shakespeare’s most celebrated comic characters.
In the silly similes and the outright anger doth the Bard’s language sing. We’re treated to wonderful lines — “my skin hangs about me like an old lady’s loose gown” — and countless clever exchanges.
Amidst all the political posturing, things seem a little more obscure, which unfortunately renders the play’s opening and some of the calmer interactions a tad hard to follow.
Understandably, perhaps, given the original casting — the piece hinges on the ‘rather rotund’ Falstaff. His mesmerising monologues cover everything from the philosophy of honour to the wonders of Sherry. In fact, it’s all strangely (perhaps vitally) comic for a play about bubbling, broiling civil war, but Shakespeare remains unrivalled for such levity.
King Henry’s fight for power and Prince Hal’s coming-of-age tale seem oddly peripheral in parts. But they are there. And when the strands weave together, the play has still got all the ingredients to pack out theatres on its UK tour.
The debaucherous scenes in Eastcheap taverns track Hal and other buccaneering youths fighting the norms of high society. These wild phases of depravity allow the audience to lose itself in the spectacle.
Toheeb Jimoh is brilliant as Hal, shifting from grand gesticulations to understated turmoil as he draws closer to the crown.
Hotspur is another standout. Samuel Edward-Cook is a pulsating presence, capturing every inch of infuriation in the figurehead of the rebel camp. As the jarring sounds of battle ring out, Hildegard Bechtler’s smart set takes a serious bashing.
Given the runtime, it’s no wonder the momentum occasionally wavers. The back end labours in strange scenes from Gloucestershire orchards, where mumbling, irreverent dialogue only rings witty for so long. The audience’s fidgeting seems to demand high drama over and above sitting and scheming.
Moments of tenderness and scene transitions are aided by stunning choral interludes, including a particularly moving rendition of Jerusalem as King Henry falls foul of his ailments.
Clearly there’s plenty to love here. Yes, Falstaff remains the main attraction, even if we’re missing McKellen — the drama of monarchy and war shifts and shimmies around his every wandering thought.
But his deception and discretion is propelled by a compelling ensemble and slick action set pieces, bringing to the fore big-hitting themes of morality, mortality and service.
Player Kings is at Bristol Hippodrome until July 6; times vary. Tickets are available at www.atgtickets.com. Follow @playerkingsplay for updates.
All photos: Bristol Hippodrome
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