Player Kings, an adaptation of Shakespeare’s Henry IV Parts 1 & 2 by Robert Icke, has been the most anticipated West End premiere of the season. Not only it is a fresh new Shakespeare production but also Ian McKellen is starring at Sir John Falstaff.
Nearing four hours including the interval, this is not your typical West End show. Yet it tackles a lot of original material, combining two famous plays by Shakespeare into one complex and comprehensive production. Reworking the plays, adaptor and director Robert Icke keeps lots of dialogue as is, but allows for more dynamic visual interpretation. We see some modern elements organically fitting into the world of the medieval royal palaces and taverns.
Both costume and set design by Hildegard Bechtler are modern too. That dictates the way actors behave on stage. Instead of dramatic big gestures and almost caricature emotions, as commonly used when staging classic plays, they act naturally. It creates powerful energy between them, with battles of the wits between Falstaff (Ian McKellen) and Prince Harry (Toheeb Jimoh) and fights between Prince Harry with his father King Henry IV (Richard Coyle) becoming extremely captivating.
Player King’s stage design supports that dynamic action. Curtain separators allow for quick changes between spaces while minimalist yet clever use of props and key pieces transports us to different places. For instance, we know we are at the official coronation when two red carpets are rolled out, and to recreate the frontline, show creators use flashing lights, sounds of sirens and crushed bricks, raining on stage to imitate explosions all around.
One of the key attractions of the play, though, is an amazing cast. The portrayals of the joker and anti-hero Falstaff by Ian McKellen and King Henry IV by Richard Coyle perfectly highlight the opposition of these characters. While the king’s days are filled with serious matters of the state and endless routine of negotiations with rebels, allies and advisors, Falstaff is always merry with good booze and false stories of his great adventures. The visual comedy by Ian McKellen is of the highest rank, with him not simply playing an obese grumpy old man, but him becoming one on stage. His Falstaff is always in no rush – he takes time to get up from his throne-like armchair and finish a bite or blow his nose before telling the story. He delivers each line with ease and confidence. In contrast, Richard Coyle is playing unemotionally, with his King being always engrossed in matters of state, with little time for matters of heart.
Toheeb Jimoh manages well a complex role of Prince Harry. His character goes through a big transformation during the course of the play. He is as believable as the robber from the high road at the start of the play as the next ruler of England at the end.
The misfits of Boar’s Head Tavern, the realm of Falstaff’s carnival fun, all come as strong powerful individuals, each different, comic, yet relatable. From Henry Jenkinson’s Poins and Geoffrey Freshwater’s Bardolph to Clare Perkins’ Mistress Quickly and Tafline Steen’s Doll Tearsheet, they all shine through. The same can be said about the rebels and political opponents of the king, brilliantly portrayed by Nigel Lister, Samuel Edward-Cook and Henry Jenkinson. A countertenor by the latter also deserves special mention: his singing sets the mood for the dramatic and ceremonial scenes, elevating the action.
Player Kings at Noël Coward Theatre is a great Shakespeare adaptation with plenty of modern twists and stellar casting. If there is one drama you should see on stage this spring, it is this one.
