CSC's "Henry V": Dramatic History (Part I)

In the interest of the safety of the actors (many of who were wearing metal or holding large metal swords) and the patrons at Friday's opening of Henry V, the Chesapeake Shakespeare Company called a halt to the show just before the end of Act One.  A pesky and long coming thunderstorm was rapidly approaching the ruins high upon the hill overlooking historic Ellicott City.  Winds were whipping the trees, leaves were flying and lighting was visible all around.  Thankfully, wise heads prevailed and the show was halted.  Such is the chance one takes when presenting plays outdoors during a hot, steamy early summer evening.  One can imagine similar circumstances halting shows at The Globe centuries ago. 

As I will be unable to attend the rest of Henry V until July 1, just a week before it closes, in the interest of promoting this wonderful theatre company and its (so far) terrific performance, I offer my thoughts up to the calling of the show. 

Directed by CSC newcomer James Ricks, Henry V offers a few challenges. First, as one of the histories, it is not as commonly performed as Shakespeare's comedies or tragedies, making the general audience less familiar with the piece.  Second, there is an unusual amount of exposition beyond the Prologue, which can be deadly to stage and to keep the audience interested.  Old William wanted to make sure his audiences understood his take on history – both his point of view on it, and the liberties he'd be taking.  Finally, this play in particular has moments of high drama, broad comedy (including some pretty racy dialogue), and not a few battles.  For the most part, Ricks does quite well handling those challenges in Act One, particularly in his play to the strengths of his chosen cast. 

Things begin briskly enough with the vastly talented Lindsay Kitt Wiebe as the Chorus. Wiebe wends her way through several tricky tongue-twisters of speeches, making the meaning of each crystal clear and even exciting, with her enthusiasm, smart acting choices and deft movement.  In the short space of two weekends, this talented actress has made quite a local showing.  Later, Kevin Costa, as the Archbishop of Canterbury, also contributes nicely to the start of the show with his impassioned and conniving speeches to convince the young King Henry that he must show his might by invading and taking over France, thus establishing him as a King of power, thus erasing his playboy image from his youth.

Ricks' staging then sort of grinds to a halt as the new King (Patrick Kilpatrick) takes the throne and hears about the state of the nation, contributing his own lengthy oratory, all of which adds up to a bunch of historical context.  The entire scene, as well spoken as it is, comes across as drudgery for all concerned, with Kilpatrick adopting a strange drone to his voice as he plows through line after tedious line.  Having seen this talented performer many times, and judging from the rest of his performance here, I'm willing to bet he has either not found an internal "hook" to this section of text, thus enriching his performance, or he, and director Ricks aren't entirely sure what to do here.  The scene, courtly as it is, is static.  There is very little movement for several minutes, and what is being said is really not all that interesting.  Also, as staged, nearly half the audience is looking at the side of the King's face, losing much of his volume and facial expression. 

From there, however, Mr. Ricks and Mr. Kilpatrick lead the audience on a provocative thrilling race through history.  Kilpatrick's Henry grows on you as he gradually overcomes his reputation as a player and becomes a ruthless and powerful risk-taking leader.  In particular, during a scene when Henry must confront friends who become traitors to him, you can see the hurt shoved to the edges by the anger and cunning he is about to unleash.  The traitors (Joel Ballard, Vince Eisenson and Jamie Hanna) are played with subtle duplicity by the three actors, first agreeing with their King that no mercy be shown to another courtier.  Then, Kilpatrick, with equal subtlety and power destroys the three by revealing that he knows of their traitorous ways and convicts them using their own logic against them.  All four actors contribute nicely to a scene that really establishes Kilpatrick's Henry as a force to be reckoned with. 

Comic relief, at least thus far, comes in two quantities, both very funny and timed with the sharpness of a sword by all involved.  First, the common comic trio of Pistol (Michael P. Sullivan), Bardolph (again Kevin Costa) and Nym (the amazingly versatile Colby Codding) enters with, um, flair, as Codding, drunk, enters singing and promptly urinates on the set.  Sullivan's Pistol, aptly named for his quick temper and Codding's Nym are immediately at each other's throats (over a woman, naturally), with Costa's Bardolph as peace maker.  They are a riot as they Three Stooges/Marx Brothers-like fight with swords, daggers and bent metal.  Adding to the fun is a gleeful, bawdy turn by Christina Schlegel as The Hostess (what an astonishing change from her character in As You Like It!) and the effervescent Ashly Ruth Fishell as The Boy, delivering bad news about the unseen Falstaff.  This boisterous scene offers a nice counter point to the serious and violent scenes that surround it. 

The other comic relief, thus far, concerns the French Princess (played with a joyous earnestness by Laura Sicari) learning English words from her lady in waiting (played with equal hilarity by Lesley Malin).  In one of Shakespeare's more pointed and decidedly dirty sequences, he uses word play in translating words such as "foot" and "elbow", and a few other words, that if mispronounced in English are profanity in French. 

It is at this point the performance was called.  In exiting, I got to mingle with some of the company, who were very disappointed that they could not get to their favorite scenes.  That kind of excitement over work to come only bodes well for the rest of this already fine performance.

Finally, as mentioned in my review of As You Like It, it is always a joy to discover new talent.  Henry V really brings two more great players to the stage.  First is the previously mentioned Colby Codding, who is a scream as Nym.  His facial expressions are priceless and his drunken delivery is superb.  Making that character even more exciting is that in the very next scene and within seconds, Codding reappears as the nasty, bratty Dauphin.  He sneers and cajoles his way around the stage with an arrogance and swagger that is as excellently performed as it is perplexing to watch in action.  (I will admit I was lost at first when he made his entrance as different characters in back-to-back scenes, but within seconds the two characters were as easily told apart as if two actors were playing the roles!)  The other new talent found here is the director, James Ricks, who, that long expository scene aside, has a real grasp on what could have been an unwieldy production.  He is equally at home staging drama as he is comedy and physical comedy as he is stage combat (with CSC member Christopher Niebling).

Ok, readers, now it is up to you to carry the torch (until July 1^st, at least).  Please feel free to add your critiques of the whole Henry V below!  Audience members, only, please!

PHOTOS: By Kitty R: TOP to BOTTOM: Patrick Kilpatrick as Henry V, Michael Sullivan, Kevin Costa and Colby Codding; Lesley Malin and Laura Sicari.

 

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