This year’s Pop-Up Globe Henry V spectacular begins with Michael Mahoney’s Choral exhortations to the onlookers to go beyond the limits of the stage through the power of imagination. Dressed in bright orange High Viz vest pushing a cleaning cart Mahoney places the textual qualities with agility and delight. There is clear buy in from a buzzing crowd, as worlds are summoned up in an enthusiastic audience.

The Pop-Up Globe building itself, adheres to exact dimensions combined with some innovative design and contemporary materials. The stage is open, the lighting is generally natural and the acoustics work inextricably with the enclosed Globe design. Replicating the Jacobean era as closely as possible reveals a rich source of history but, as evidenced by the ensuing production, is a profound example of old-fashioned genius.

Bob Capocci’s costume design is striking and inspired. Her acquiescence to historic exactness and splendour are a potent vow that amplifies the author’s intent. The quality of the fabrics are visceral, the constructing flair enriches the kind of pomp and glamour expected in the Bard’s work. Another significant costume feature Derek Tomas, Kara Jensen and Nick Pitt is the Armoury. The fresh silver steel glints under the light, the form is robotic and powerful yet is masterfully created so as not to impede movement or the spectator’s eye.

The all-male cast is robust, posturing with boyish charms and playful intelligence. Barry De Lore as Fluellen, Joe Dekkers-Reihana as Katherine and Stephen Butterworth give particularly fine performances as they shift from testosterone pumped fever to more oestrogenic litheness.

As with any finely established team, the Captain will inevitably carry the victory cup. Chris Huntly-Turner, who excels in the role of Henry V, should stand rewarded on behalf of a well-honed and commendable band of brothers.

Huntly-Turner’s approach to the character coupled with director Dr Miles Gregory treatment positions Henry as saviour of the people. Buoying the troops, charming the ladies and parading through the crowds builds a messianic visage that also plays well with historic observance.

The signature plot of Henry V plays as the conclusion of many history plays by Shakespeare. Henry vies for respect, campaigning against the French, and engineering support for himself and his plans with tact, perseverance, generosity, propaganda and, finally, force. 

A lean musical band accompany the troupe. Paul McLaney’s musical direction clearly encompasses a full chorus approach utilising actors as musicians and choir. Staged high in the Globe, almost as cherubim, the instrumental ensemble play consistently throughout, accentuating the action neatly, particularly within the battle scenes.

Dr Miles Gregory’s creative vision for this piece is clear. The interaction between players and audience is generous and welcoming, challenging the actors to give way to the arbitrary impulse of the onlookers. It is a real pleasure to see such self-confidence and proficiency.

Shakespeare demands uncluttered approaches that surrender to expertise beyond the average artist. Henry V expresses a highly lucid passion for the work that seduces all who have the privilege of attending the project. This is Shakespeare’s spot, it is his style and set that can only bring about the fullest theatre experience of a lifetime.

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In recent times, Shakespeare’s classic military narrative Henry V has boasted all-female casts and female leads to great effect. However, in a return to Jacobean tradition, director Dr Miles Gregory invites all, irrespective of class or creed, to cheer for an English king and his ambition in the all-male war play.

Written around 1599, this is a tale of a youth’s grandiose ambition and imperial endeavour; a glimpse into one of the major events during the Hundred Years’ War and a legacy story to boot.

However, the success of this production is not the timelessness of a war narrative but, rather, the superb and complex portrait of humanity that is carefully crafted by its creatives.

Deeply poetic and unquestionably dramatic, the production is offered to us through a local custodian in a high-vis vest [More] 

Copyright © in the review belongs to the reviewer