Eight plays, 17 cast members, 12 hours. If Sport for Jove’s production of The Player Kings sounds epic, it is. Split into two parts, The Hollow Crown (Richard II, Henry IV Parts 1 and 2, and Henry V) and The War of the Roses (Henry VI Parts 1, 2 and 3, and Richard III), the performances can be seen either separately or in one gloriously long day. And glorious it is to see possibly Australia’s best director of Shakespeare, Damien Ryan, go once more into the world of vain, heroic, foolish and all too human kings.
The Plantagenet king Richard II (a wonderfully effete and capricious Sean O’Shea) from the House of York is in power following the death of Edward III, but under threat from former ally Henry Bolingbroke/Henry IV (Gareth Davies) a Lancastrian. Thus begins many years of intergenerational fighting.
Davies, terrific in all his roles, gives us a nuanced but ruthless Henry IV, who only reconciles with his wastrel son (Oliver Ryan in a sympathetic reading of Hal) at his death, a beautifully poignant scene. It is clear soon enough that this “sceptred isle” of Richard’s is but an elegy to an illusion. Many heads are severed and displayed. Carnage wrought by privileged egos is laid bare. The dispatch of kings is mourned greatly, and then repeated.
Perhaps surprisingly then, comedy is frequently to the fore, sometimes with contemporary echoes. We have the charismatic Hotspur played by Max Ryan like a version of Lord Flashheart. Peter Carroll channels his inner Corporal Jones as the old Duke of York. And together with John Gaden as gardeners, there are hints perhaps of Vladimir and Estragon in their dotage. Gaden’s gardener, however, soon unleashes pointed criticism of Richard’s wastefulness, blindness and neglect.
The humour in the production frequently works this way, beguiling the audience until, almost unnoticed, the knife slides in. There are also subtle and not so subtle references to modern polity and the megalomania of an American ‘king,’ notably in the uprising led by the thug Jack Cade (Steve Rodgers). Throw in some hilarious playing to the audience and we might easily imagine ourselves in the yard at the old Globe. And it does help maintain energy levels, because we need them when we get to Henry VI.
Set design by Kate Beere amplifies the theme of edenic England as self-serving myth. It lies on a diagonal across the York amphitheatre thrusting into the seating and creating two raised areas rising from a contested central courtyard. This very clever design enables shifts in focus and perspective, the raised platforms suggesting an idyllic English garden and its opposite, a sacrificial altar.
Coupled with seemingly effortless direction from Damien Ryan, the full company is comfortably accommodated onstage. The tavern scene in Henry IV, in particular, is a tour de force of design, stage movement, lighting and above all marvellous acting, especially from Rodgers, who surely was born to play Falstaff. He delivers cunning, pathos and riotous comedy in equal measure.
Ryan manages many scene transitions without blackout, which are so good as to be alchemical. Much use is made of glass reflection, and ingenious lighting by Matt Cox enables some wonderful doubling effects, noticeably in the crown’s ‘transition’ from young Hal to the reformed Henry V (a ballsy Andrew Cutcliffe.) Joan of Arc’s (Ruby Henaway) immolation is affectingly lit.
Composer Jack Mitsch, also acting in the company, performs live. His insistent snare drum, scores the beating of a heart, and the drum – and gunshots – of war. Opening Henry IV is a stirring guitar rendition of Jerusalem, set forebodingly against a projected backdrop of riots.
Costuming, a thoughtful collective effort from Beere, Ruby Jenkins and Lily Moody, marks the passing of generations, most obviously seen in the military dress from WW1 through WW2, Afghanistan and modern-day riot gear.
All the plays were necessarily trimmed, but Henry V was cut to the bone; its brevity losing a degree of insight. Would it have been Henry VI Parts 1-3, a tiring chore of prosaically written politicking, that was cut deeply instead. But to our rescue (though not the Plantagenets) comes Richard III.
Liam Gamble, born with cerebral palsy, brings a rare perspective to Richard. He embraces his nihilism with glee. Raw and physical, he prowls the stage, seducing us with caustic humour and sly regard. It’s a wonderfully confident performance.
Shakespeare has written some strong women here, and for the most part the actors perform persuasively. Katrina Retallick in all her roles, but particularly her jousting as Queen Elizabeth with Richard III, is completely convincing. Henaway makes a fine Joan of Arc.
Lulu Howes is also very good though the dead acoustics of the York theatre, requiring greater projection, work against her higher register. As it does with others. Christopher Stollery, Marty Alix and Emma Palmer are consistently excellent across their diverse roles; no mean feat.
A standing ovation, almost de rigueur for opening nights and not always merited, was here a thundering acclamation of a remarkable experience. Though quite the endurance test for everyone, this is genuinely spine-tingling theatre with real swagger and attitude.
Sport For Jove’s The Player Kings Part 1 & Part 2 runs to 5 April at York Theatre, Seymour Centre, corner City Road and Cleveland Street Chippendale 2008.
Tickets are available here.
Website: https://www.seymourcentre.com/event/the-player-kings/
Socials: https://www.instagram.com/sportforjove/
Photo credits: Brett Boardman and Campbell J Parsons
Show Details:
Part 1 (Richard II, Henry IV Part 1 & Part 2, Henry V)
Part 2 (Henry VI Part 1, Part 2 & Part 3, Richard III)
Remaining Times and Dates:
Thursday 3 April 6:30pm Part 1
Friday 4 April 6:30pm Part 2
Saturday 5 April 11:30am Part 1, 6:30pm Part 2 Gala Day
Each part runs for 255 minutes (approx. 4.5 hours), including two 15 minute intervals. Partial lockouts apply.
