Skip to main content

Henry V

Botanic Gardens, Glasgow
Four stars

The siren's call is a call to arms of sorts in Jennifer Dick's reimagining of Shakespeare's most triumphal piece of wartime propaganda, which here sets out its store in the 1940s. Evacuees run wild in the country while the world about them attempts to bomb each other out of existence. With sandbags and a Union Jack at one end of Carys Hobbs’ set and a cinema poster for Laurence Olivier's big-screen vanity version of the play at the other, the games that unfold beyond the dressing up box are hand-me-down fantasies of nationhood.

As the gang gather to the sound of vintage wartime warmers by the likes of the Andrews' Sisters and George Formby, leader of the pack is Lynsey-Anne Moffat's Chorus. She shoves her playmates around, handing out the cardboard crowns inbetween making up the story as she goes along. Once everybody gets to grips with the grown-up stuff, the war with France can begin.

Adam Donaldson is a natural for King Henry, clad in boy-scout shirt and shorts and with a rough-hewn charisma that demands attention. Moffat and the other five people onstage roar their way through the Kibble Palace, doubling up as assorted states-people from both sides. On the flipside, Ben Noble, Claire Macallister, Alan Mirren and Natalie Lauren invest the play's comic cannon fodder with a more earnest sense of being caught in the crossfire.

It's as if the play, performed as part of this summer's Bard in the Botanics season, has been dreamt up by the real life cast of Michael Apted's seminal Up documentary series, which since 1964 has watched children grow up beyond their seven-year-old selves. Like them, as the world becomes an infinitely more serious place in Dick’s production, the reckless derring-do of infants gives way to older and more cautious characters.

Ultimately, Dick's adaptation is a play for Europe, of auld alliances that sees nations at each other's throats before embarking, like Katherine and Henry, on a bilingual romance before it all falls apart and they're childishly turning their backs on each other once more. It could never happen here.

The Herald, July 5th 2019

ends



Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

The Passage – Hip Rebel Degenerates: Black, White and Red All Over

Prelude – The Power of Three   Fear. Power. Love. This life-and-death (un)holy trinity was the driving force and raisons d’être of The Passage, the still largely unsung Manchester band sired in what we now call the post-punk era, and who between 1978 and 1983 released four albums and a handful of singles.    Led primarily by composer Dick Witts, The Passage bridged the divide between contemporary classical composition and electronic pop as much as between the personal and the political. In the oppositional hotbed of Margaret Thatcher’s first landslide, The Passage fused agit-prop and angst, and released a song called Troops Out as a single. The song offered unequivocal support for withdrawing British troops from Northern Ireland.    They wrote Anderton’s Hall, about Greater Manchester’s born again right wing police chief, James Anderton, and, on Dark Times, rubbed Brechtian polemic up against dancefloor hedonism. On XOYO, their most commercial and potentially mo...