Henry V
September 2006
September 2006
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'Henry V' gets more complex
By Amanda Richardson
Star-News Correspondent
Modernizing Shakespeare has become the
norm more than the exception. It says
something about the genius of
Shakespeare's timeless storytelling and
about our need to take something and
make it our own. For the literary purists,
this constant push to update the language
and place Romeo and Juliet in, say,
California, is an abomination to
Shakespeare's good name. To others,
who are tired of the same Elizabethan
costumes and gestures, a little tinkering
with the story comes as a breath of fresh
air. That's why it's fortunate that Guerilla
Theatre's production of Henry V attempts to
appeal to both sides of the spectrum.
Director Susan Auten and crew have taken
over the Soapbox basement for the fourth
installment of "Shakespeare in the Pub."
This isn't an ideal space for theater, but
with a few colored lights and some black
curtains, the company put together a
decent stage area. Not much else is
needed as this is a play that literally asks
for your imagination to be put to use.
"Think, when we talk of horses, that you
see them, printing their proud hoofs i' th'
receiving earth," says Tony Puczylowski, in
the role of the Chorus. Asking us to
imagine vast armies and oceans is a fair
request, as it simply can't be produced on
stage. It's factoring in the post World War II
setting that gets a little tricky.
This particular production keeps the
original text intact. However, it places the
cast in late 1940s America. A read through
the playbill informs that the characters
represent the political and social
movements of that period; the movements
for racial and gender equality, the fight for
higher wages and benefits, etc. Without
that information, it would be difficult to
determine why there is a discord between
the spoken text and the mid-twentieth
century costuming.
The most obvious contradiction was the
constant spoken referrals to being in
France or Britain, while the cast made it
clear through dress and accent that they
were in the U.S.A. The audience is
apparently left to their own devices in
understanding the metaphors being
delivered. Some costume cues helped. A
bandana tied around one actress's head
symbolized her status as a working
woman. French aristocracy wore white
collared shirts with black ties and pants
which suggested they represented heads
of a corporate dynasty - perhaps. Their
rival, King Henry, wore a blue-collared
shirt, which could be taken to symbolize
the battle between blue-collar and
white-collar workers.
This ambiguous sort of symbolism was
interesting to contemplate, but also rather
frustrating. There were no clear-cut
answers to who represented what. By the
end, one almost wished they had just put
on period costuming or changed the
dialogue to fit with the American image
they were projecting.
On the acting front, things were much
rosier. Richard Davis, as Henry V, has a
natural leadership quality that made him a
good fit for this role. Another standout was
Nicholas Gray as 'Dauphin,' the obnoxious
French prince. He played the part with a
sleaziness that was hilarious to watch.
Also look for Liz Pierce, who, like many of
the actors, plays several roles (there were
26 parts spread among 13 actors). She
was most memorable in her role as the
'Katherine,' (daughter of the King of
France), who has a laughably hard time
trying to learn English.
The play, in total, was quite
thought-provoking. I wouldn't recommend it
to anyone who isn't already familiar with
the story of Henry V. Interpreting the
modern representation while trying to
follow the plot will probably get confusing
and frustrating. But for those of you who
like an intellectual exercise when attending
theater, this one will have you thinking
about its meaning long after you leave.
By Amanda Richardson
Star-News Correspondent
Modernizing Shakespeare has become the
norm more than the exception. It says
something about the genius of
Shakespeare's timeless storytelling and
about our need to take something and
make it our own. For the literary purists,
this constant push to update the language
and place Romeo and Juliet in, say,
California, is an abomination to
Shakespeare's good name. To others,
who are tired of the same Elizabethan
costumes and gestures, a little tinkering
with the story comes as a breath of fresh
air. That's why it's fortunate that Guerilla
Theatre's production of Henry V attempts to
appeal to both sides of the spectrum.
Director Susan Auten and crew have taken
over the Soapbox basement for the fourth
installment of "Shakespeare in the Pub."
This isn't an ideal space for theater, but
with a few colored lights and some black
curtains, the company put together a
decent stage area. Not much else is
needed as this is a play that literally asks
for your imagination to be put to use.
"Think, when we talk of horses, that you
see them, printing their proud hoofs i' th'
receiving earth," says Tony Puczylowski, in
the role of the Chorus. Asking us to
imagine vast armies and oceans is a fair
request, as it simply can't be produced on
stage. It's factoring in the post World War II
setting that gets a little tricky.
This particular production keeps the
original text intact. However, it places the
cast in late 1940s America. A read through
the playbill informs that the characters
represent the political and social
movements of that period; the movements
for racial and gender equality, the fight for
higher wages and benefits, etc. Without
that information, it would be difficult to
determine why there is a discord between
the spoken text and the mid-twentieth
century costuming.
The most obvious contradiction was the
constant spoken referrals to being in
France or Britain, while the cast made it
clear through dress and accent that they
were in the U.S.A. The audience is
apparently left to their own devices in
understanding the metaphors being
delivered. Some costume cues helped. A
bandana tied around one actress's head
symbolized her status as a working
woman. French aristocracy wore white
collared shirts with black ties and pants
which suggested they represented heads
of a corporate dynasty - perhaps. Their
rival, King Henry, wore a blue-collared
shirt, which could be taken to symbolize
the battle between blue-collar and
white-collar workers.
This ambiguous sort of symbolism was
interesting to contemplate, but also rather
frustrating. There were no clear-cut
answers to who represented what. By the
end, one almost wished they had just put
on period costuming or changed the
dialogue to fit with the American image
they were projecting.
On the acting front, things were much
rosier. Richard Davis, as Henry V, has a
natural leadership quality that made him a
good fit for this role. Another standout was
Nicholas Gray as 'Dauphin,' the obnoxious
French prince. He played the part with a
sleaziness that was hilarious to watch.
Also look for Liz Pierce, who, like many of
the actors, plays several roles (there were
26 parts spread among 13 actors). She
was most memorable in her role as the
'Katherine,' (daughter of the King of
France), who has a laughably hard time
trying to learn English.
The play, in total, was quite
thought-provoking. I wouldn't recommend it
to anyone who isn't already familiar with
the story of Henry V. Interpreting the
modern representation while trying to
follow the plot will probably get confusing
and frustrating. But for those of you who
like an intellectual exercise when attending
theater, this one will have you thinking
about its meaning long after you leave.
A Favorable Interpretation: ‘Henry V’ is an
intriguing classic no matter how it’s done
09/11/06 @ 12:00:34 pm by archivesadmin
By: Kris Asher
Last week I wrote a preview of “Henry V,” even
explaining a bit of the modernized backdrop, as it
was explained to me. The Guerilla Theatre would
perform Shakespeare’s “Henry V” within the
context of post-WWII America. The French
symbolized the government and corporate greed
while the English, under King Henry V,
represented the oppressed people: blue collar
workers, women, minorities.
While there have been plenty of relatively
successful modern interpretative productions of
Shakespeare (onstage, as well as in movies), it
just didn’t work here. There were just far too
many mentions of dead soldiers and princes,
noblemen and land ties through marriage for me
to stretch my imagination that far.
Don’t get me wrong though; I loved The Guerilla
Theatre’s production. The performances were so
well-acted, I could easily imagine the dead
scattered about the battlefield. I had no problem
picturing royal banners furling around the
encampments or the arrogance of the French. I
did, however, stumble when it came time to
translate that image into yet another translated
image of 1950’s America.
Besides the appropriate costumes, and a
camera or two, there was no hint of that era.
Even the cocaine that the egotistical Dauphin
(Nicholas Gray) snorted could have been old-
fashioned snuff. I understand the connection that
first-time director Susan Auten was attempting,
but it just seemed unnecessary.
Why must you know this? Well, audiences
should not have high expectations of a modern
interpretation. As impressive an effort as it was
to modernize it, really, the play is just an excellent
interpretation of an intriguing classic, in general.
At the beginning, the chorus comes out and
apologizes for the lack of an elaborate set and
costumes. Guerilla Theatre’s move to strip the
set bare and keep the costumes to a minimum
was a wise decision. It allowed the audience to
focus on the cast and the dialogue. In any less
hands, that could have been a disaster.
Shakespeare is notorious for tripping up even
the best of actors. I think most people forget that
Shakespeare’s language was actually language,
so they begin to speak it awkwardly. However, all
of the actors at this Shakespeare in the Pub
production pulled the dialogue off as though it
were their everyday speech.
Richard Davis, as Henry V, deserves a complete
stand-alone praise, as his performance was
flawless. He seemed to be in his natural
element; every single action appeared regal and
in command. His monologues came easily and I
immediately believed him to be the English king.
Nicholas Gray shined as The Dauphin, heir to
the throne of France; his relaxed demeanor
perfectly portrayed a rich kid who is used to
getting what he wants and who is ready to
sacrifice anyone in order to get it. The audience’s
favorite scenes seemed to be the humorous
moments when the French came out to parade
before the media, full of hidden, hypocritical
smiles. The interactions between the Dauphin
and his court were inspiring moments of
comedic timing.
Liz Pierce, meanwhile, convinced me entirely that
she was a French noblewoman learning English
for the first time. Carl Kennedy also stood out
with a natural hold on Shakespeare’s dialogue.
It’s important to keep in mind, above all else, that
most of these actors, and the eight others in the
cast, all played multiple roles—not an easy
demand in any play, much less one by the
“Almighty Bard.”
What’s more, this wonderful production is being
held to help raise money for “Step Up For
Soldiers,” a local charity that provides household
modifications for North Carolina soldiers
disabled in combat. They will sell raffle tickets at
each performance giving people the chance to
win a new car from Bruce Cavenaugh Suzuki. So
it’s theater for a cause, if you will.
And if none of the above convinces you to spend
an evening with Guerilla Theatre, remember that
they’re putting on “Henry V” as part of their
Shakespeare in the Pub series, which means
you can enjoy some ice cold beverages with your
performance. The Soapbox Speakeasy Micro-
Theatre turned out to be a very intimate setting
for a stripped-down production, such as this.
The performance continues its second week run
September 7-9. Show times are at 8pm; tickets
are $10 and $8 for students and senior citizens.
intriguing classic no matter how it’s done
09/11/06 @ 12:00:34 pm by archivesadmin
By: Kris Asher
Last week I wrote a preview of “Henry V,” even
explaining a bit of the modernized backdrop, as it
was explained to me. The Guerilla Theatre would
perform Shakespeare’s “Henry V” within the
context of post-WWII America. The French
symbolized the government and corporate greed
while the English, under King Henry V,
represented the oppressed people: blue collar
workers, women, minorities.
While there have been plenty of relatively
successful modern interpretative productions of
Shakespeare (onstage, as well as in movies), it
just didn’t work here. There were just far too
many mentions of dead soldiers and princes,
noblemen and land ties through marriage for me
to stretch my imagination that far.
Don’t get me wrong though; I loved The Guerilla
Theatre’s production. The performances were so
well-acted, I could easily imagine the dead
scattered about the battlefield. I had no problem
picturing royal banners furling around the
encampments or the arrogance of the French. I
did, however, stumble when it came time to
translate that image into yet another translated
image of 1950’s America.
Besides the appropriate costumes, and a
camera or two, there was no hint of that era.
Even the cocaine that the egotistical Dauphin
(Nicholas Gray) snorted could have been old-
fashioned snuff. I understand the connection that
first-time director Susan Auten was attempting,
but it just seemed unnecessary.
Why must you know this? Well, audiences
should not have high expectations of a modern
interpretation. As impressive an effort as it was
to modernize it, really, the play is just an excellent
interpretation of an intriguing classic, in general.
At the beginning, the chorus comes out and
apologizes for the lack of an elaborate set and
costumes. Guerilla Theatre’s move to strip the
set bare and keep the costumes to a minimum
was a wise decision. It allowed the audience to
focus on the cast and the dialogue. In any less
hands, that could have been a disaster.
Shakespeare is notorious for tripping up even
the best of actors. I think most people forget that
Shakespeare’s language was actually language,
so they begin to speak it awkwardly. However, all
of the actors at this Shakespeare in the Pub
production pulled the dialogue off as though it
were their everyday speech.
Richard Davis, as Henry V, deserves a complete
stand-alone praise, as his performance was
flawless. He seemed to be in his natural
element; every single action appeared regal and
in command. His monologues came easily and I
immediately believed him to be the English king.
Nicholas Gray shined as The Dauphin, heir to
the throne of France; his relaxed demeanor
perfectly portrayed a rich kid who is used to
getting what he wants and who is ready to
sacrifice anyone in order to get it. The audience’s
favorite scenes seemed to be the humorous
moments when the French came out to parade
before the media, full of hidden, hypocritical
smiles. The interactions between the Dauphin
and his court were inspiring moments of
comedic timing.
Liz Pierce, meanwhile, convinced me entirely that
she was a French noblewoman learning English
for the first time. Carl Kennedy also stood out
with a natural hold on Shakespeare’s dialogue.
It’s important to keep in mind, above all else, that
most of these actors, and the eight others in the
cast, all played multiple roles—not an easy
demand in any play, much less one by the
“Almighty Bard.”
What’s more, this wonderful production is being
held to help raise money for “Step Up For
Soldiers,” a local charity that provides household
modifications for North Carolina soldiers
disabled in combat. They will sell raffle tickets at
each performance giving people the chance to
win a new car from Bruce Cavenaugh Suzuki. So
it’s theater for a cause, if you will.
And if none of the above convinces you to spend
an evening with Guerilla Theatre, remember that
they’re putting on “Henry V” as part of their
Shakespeare in the Pub series, which means
you can enjoy some ice cold beverages with your
performance. The Soapbox Speakeasy Micro-
Theatre turned out to be a very intimate setting
for a stripped-down production, such as this.
The performance continues its second week run
September 7-9. Show times are at 8pm; tickets
are $10 and $8 for students and senior citizens.