“… a fierce, thought-provoking, and deeply unsettling exploration of the true cost of war. … extraordinary …”
Fiona Hallenan-Barker
4.5 bloody gasps
Bell Shakespeare
Playhouse, Sydney Opera House
Dates Until April 5 then touring to Wollongong, Canberra and Melbourne
Marion Potts delivers an unflinching portrayal of the bloody and brutal consequences of conflict. In just under two hours, the Playhouse stage pulses with energy as Shakespeare’s tale of conquest is reimagined with modern fervour and a deep sense of visceral immediacy. The audience is swept along, speech by speech, as performers embody the agony and tension of war with unrelenting force.
Potts’ incisive dramaturgy allows the performers to engage in casual conversations with the audience. The intimate delivery of the “muse of fire” prologue by Alex Kirwan’s Westmoreland into a microphone sets the scene for a youthful and energetic production. The ensemble cast work together seamlessly with flashpoint moments of brilliance from each. Ella Prince’s mercurial performance is a testament to the show’s fierce energy, while Jo Turner‘s counterpoints as Canterbury and the King of France bring a depth to the play’s examination of power and youth.
The lead performance of JK Kazzi, with his broad accent, and rebellious energy is initially unsettling, but as Henry V invades France his transformation is nothing short of magical. His portrayal captures Henry’s arrogance and entitlement counterpointed by the discoveries of a lost little boy battling forward. His vitality and charisma win over his troops and his audience. There is no shying away from the righteousness that fuels Henry’s actions; with God on his side, Henry believes he is justified in claiming what he sees as his divine right.
Designer Anna Cordingly has set the action within a stark, industrial landscape. A setting that echoes the raw, unrelenting nature of war, and the physicality of the performances draws us deep into that brutal world. Moments of stillness between the chaos give us the rare opportunity to reflect on humour that can be found amidst the posturing and power plays of war. Lighting design by Verity Hampson is superb and sound design by Jethro Woodward is finely tuned to transport us quickly from the boy’s locker room, to the public sphere and back to the weary battlefield. The use of silence, breath and amplified heartbeats creates a sparse auditory world that supports the imagery of the language. Voice direction by Jack Starkey-Gill allows the actors’ individual nuance and timbre to find a natural place in the world of war.
But what about the battles? Stage fighting can be notoriously naff and Henry V is known as the war play. Once described as Shakespeare’s “Die Hard” the play is action packed and the audience expectations are high. Movement director Nigel Poulton delivers in spades. The final battle scene is mesmerizingly brilliant. Gallons of black mud ooze all over the stage the actors struggle to stay upright. A striking, symbolic moment occurs when a moment of conflict is pinpointed in the gore, an unsettling reminder of the humanity behind the warriors, the cost of violence, and the dissonance between the thrill of battle and its toll. When all is swept away the symbol of St George lays across the stage paving the way for Henry’s negotiations.
A haunting prelude to Katherine’s later violation is found in Ava Madon’s ethereal performance, singing in a striking yellow gown, a bright contrast to the darkness surrounding her. This juxtaposition provides a poignant glimpse of Katherine’s vulnerability before the violence begins, as she learns English and prepares for an unknown future. Katherine’s violation by Henry V is both tragic and horrific. In this retelling, Katherine’s capitulation is not simply a conquest of war—it is a painful, calculated surrender to secure the safety of her people. The chilling nature of Henry’s courtship, devoid of respect or tenderness, underscores his sense of entitlement, further adding to the play’s brutality and grim examination of power dynamics.
The epilogue of the play leaves us with the haunting futility of war, where bloodshed, death, and grief ultimately lead to nothing. Land is won and lost, but human suffering remains unchanged. Henry V is a fierce, thought-provoking, and deeply unsettling exploration of the true cost of war. Potts’ direction, with its extraordinary symbolism, leaves no room for doubt: war, in all its cruelty and destruction, is both inevitable and utterly pointless.
Fiona Hallenan-Barker, Theatre Now
