Relaxed, confident ‘Henry’

Press, Volume CXII, Issue 33037, 3 October 1972, Page 16

Relaxed, confident ‘Henry’

“Henry V,” by William Shakespeare. Directed by Dame Ngaio Marsh. James Hay Theatre. October Ito 10. Running time: 8 p.m. to 10.40.

The second-night audience at “Henry V” tended, as might be expected, to be rather more reserved in its applause of a performance that was generally more relaxed and confident than the opening; it was noticeable, though, that it responded to different aspects of the main role. Desmond Woods, making his first appearance as Henry, did not command the same vocal range as David Hindin, and his moments of passion and anger tried to imitate the tiger rather too consistently, without much resonance in his lower register. Nevertheless, he was very good in the intimate scenes towards the end, and he certainly gave a creditable performance of a most demanding role; he and Nich.olas Blake seemed the most promising of the younger actors.

As if to emphasise that Henry is not a loud-mouthed, trigger - happy Tamburlaine, this production most effectively punctures the myth of the conquering megalomaniac by its hilariously resourceful interpretation of the comic scenes and the more subtle charm of the French court, to which Henry is almost assimilated at the end.

Janet Lock looks impeccably genteel as the French Princess, speaks vivaciously, and draws a good many laughs for her English lesson with Alice (Olivia Spencer - Bower). Nicholas Blake (as the Dauphin), Reg Graham (the French Ambassador), and Stephen Smithyman (the Herald) give plenty of Gallic foppishness to counterpoint the bluntness of the English. Gerald Orchard gives a striking portrayal of the French King’s decrepitude, and Annette Facer makes a dignified French Queen; Barry Empson gives Burgundy the commanding, carefully-weighed sagacity to reach the finality that his big speech calls for. Of the comics, Gerald Lascelles gives a memorable performance as Pistol; his rougish arrogance and windy heroics have been inventively exploited to make the role not only a delight in itself but also heavily meaningful within the play’s themes. William Hayward shows surprising versatility in his Bardolph, and Endel Lust’s Nym is a sour-faced clown with an I.Q. of 35 and a liver as red as the fleur-de-lis that he never quite manages to see. As Quickly, Mildred

Woods gives an accomplished performance which moves easily from slapstick to pathos; Simon Hume manages well as the Boy. Vincent Orange draws sympathy to Fiuellen without losing the gentle irony that is also there, and Robert Bell sets the character of the English soldiery with his straightforward, aggressive honesty, a good balance to Selwyn There are many other good performances of secondary roles, especially Mitchell Elder’s Exeter, Robin Bond’s Archbishop, and Robin Alborn’s Constable.

The crowd scenes are all done splendidly, with superb

grouping and audacious lighting, particularly on the battlefield; these are helped by some sets (by Tom Taylor) of a very high quality, including a most impressive street scene. Simon Tipping’s score adds regal pomp and military vitality, and the costumes, designed by Maurice Askew, call for either a front seat or opera glasses. Considering the circumstances under which it was prepared, this production is a Herculean feat, and it may be expected to improve even further when the cast settles down into the season and develops the extra spark that confidence brings. —H.D.McN.