"Henry V" by Jackdonkey Productions at Theatre in the Round

Sixteen months ago, I had one of my best and most memorable days at the theater when I saw Guthrie Theater's production of the History Plays,  Shakespeare's Richard II, Henry IV, and Henry V, all in one marathon day. One continuing story and one incredible cast of actors bringing it to life over three plays, for a total of 8+ hours of theater. The taglines for the three plays were: "a king becomes a man," "a man becomes a king," and "a king becomes a hero," respectively. But Jackdonkey Productions' new take on the finale of this trilogy, Henry V, brings a little different perspective to the story. Because in reality, war is much more complicated than that. There are no heroes, there are no winners, there's only death and destruction. This is a theme that is very relevant to what's going on in our world today, with wars, violence, and power-hungry leaders everywhere you turn. Jackdonkey brings this ancient story right into the present in this innovative production, playing at Theatre in the Round this weekend only (through August 18).

Henry V takes place around 1415 and follows the newly crowned young king of England as he leads his troop into battle in France in an attempt to reclaim a crown he believes is rightly his (the history of the inter-related European monarchies is super complicated*). He's a strong and dynamic leader, beloved by his people (for the most part), and leads them to victory against great odds. But at what cost? That's the question that this production asks particularly pointedly, and that haunts Henry even as his people are celebrating their victory. And even though the play ends there, it's worth noting that Henry would be dead in less than ten years, and a few years after that all of the ground he won in France lost (note that France is to this day an independent country). So what was it all for?

Jackdonkey's Artistic Director Zach Christensen (who not coincidentally was an essential in the Guthrie's History Plays, meaning he played multiple non-speaking roles) directs this piece, and really focuses the story on Henry's journey. His marriage to the French King's daughter at the end of the play is cut, and several scenes from Henry IV are pulled forward. In fact, the play opens with Prince Hal and his pals making fun of his father the king at the local pub. As the scene recedes and the crown placed upon Hal's head, it feels like it was just a dream or a flashback; this is his reality now. We also see Falstaff in this play, even though he does not appear in the original version, following his king into war. This allows for his speech about honor to be included in this rumination on the cost of war and loyalty.

Henry (David Michaeli) and his troops
(photo courtesy of Jackdonkey) 

The talented young cast is led by David Michaeli as our Henry, who is very convincing as this young, passionate, and conflicted king. He plays Henry as a strong leader anyone would want to follow, but also with very human doubts about his role in the death of so many. Other highlights in the cast include Dominic Schiro as a younger and more serious Falstaff who's a true friend to Henry, Amanda Espinoza as the king of France, and Noah Hynick as the entitled Dauphin (the French prince). Everyone in the ensemble (also including Bradley Johnson, Ben Qualley, George Kleven, King Jackson, Brielle Peterman, Isabella Spiess, Josiah Fagerstrom, Eden Fahy, and Jeremy Beveridge) plays multiple characters; they work together as an ensemble very well. This play is written with some lovely chorus speeches introducing each scene, which are nicely done by the ensemble taking turns. 

The in-the-round space (so recently the playground for many Minnesota Fringe shows) is empty and undecorated, with just some black boxes of various sizes forming the needed set pieces. The show makes great use of the space, playing to all sides, characters on the landings above the stairs and running through the aisles. They're dressed in modern army fatigues, with guns as weapons, setting the story squarely in today. The ensemble sings a couple of songs at the beginning of each act, also playing multiple instruments, the choice of songs speaking very directly to the events and figures of today. It's a bit jarring to go from this modern music singalong into the story, but it does ground it very much in the present. There's also a lovely use of movement, and some great fight scenes, that add to the storytelling. (Fight choreography by Tessa Dahlgren, lighting design by Jackson Funke, props and sound design by James J Ruth, and costume design by Lily Turner.)

On the heels of their excellent production of the original play 503 at the Minnesota Fringe Festival last week, which was one of my favorites but unfortunately only had two performances due to illness cancellations, Jackdonkey Productions brings us another relevant and innovative story that speaks to the issues of the time, this time using a 600+ year old story written 400+ years ago. Because unfortunately war, violence, and power never go out of style.

*If you're interested in the super complicated history of the British monarchy, I recommend the very readable, succinct, and fascinating book Crown and Sceptre.