Bucking the recent trend with Shakespearean performance, the Iris Theatre Company‘s rendition of HENRY V conserves the integrity of the period style. This can likely be attributed to DirectorSimon Herbert’s fascination with the Battle of Agincourt, kindled from a telling of the battle by a longbowman encountered when Herbert was a small boy.

I respect the decision: in many ways it is harder to work from a straight period performance without stylistic layering, but I feel a pang of disappointment that the performance isn’t more sumptuously steeped in the trappings of the period. The costumes and set serve purpose, but do not distinguish themselves.

Language is a strength but suffers for a lack of energy – maybe opening night doldrums or the curse of an inauspicious audience (thirteen I hear mentioned, counting the front of house). In spite of this, the interplay of characters begins to find its stride in the second half, benefiting from some of the more humourous speeches and exchanges of banter.

Based locally, the company is a small troupe, recently emergent. Despite varying levels of experience evident, this predominantly young company shows moments of brilliance: Alexandra Bellad-Ellis’ contemptuous Duke of Exeter, Annie Richards’ foppish indignation as the Dauhin, Aaron McLean’s recalcitrant contrition (as Michael Williams), and Alwyn Bakker’s wry mirth (as the Duke of Orléans) are a smattering of examples.

Of the more notable performances, the titular Henry ‘Harry’ (Rohan Hunter), bears himself regally and poetically but would benefit from breaking from his steady delivery to breathe life into the role. While Hunter has gravitas, the royal ire feels leaden and constrained.

Capt Llewllyn – one of Paul Lyons’ several roles – stands out, making excellent use of the rhythm of of the Bard’s words as well as demonstrating the calibre of Lyons’ subtlety in expression.

Sasha Lipinsky’s characterisations, particularly of the irreverent Pistol, are also noteworthy. While more overt than Lyons, her physicality and expressionism define each of her roles as distinct and colourful. 

Director Simon Herbert also takes to the stage, filling the choric role with great aplomb and helping to buoy up the energy levels of his cast. 

As expected with a small troupe, rapid changes between roles is tricky (eleven fill thirty-one roles!) but they manage this well in spite of some transition issues. The awkwardness (both for the cast and the audience) pays off in the fundamental suggestion that in war, the agents are often interchangeable. This forms part of the consideration being made by the play, juxtaposing the heroic and horrific. Herbert’s decision to cut the entirety of the fifth act helps to sharpen this focus; that it is missing in action may irk some but I find I do not feel the loss.

Overall a solid and much promising first showing from the Iris Theatre Company, but one that will benefit from the heroic energy and horrific intensity that I hope and expect they will find over the course of the season.  

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