Crawling toward Jerusalem . . .
part-1 directed by Marc Silberschatz
part-2 directed by Seth Duerr
York Theatre production of March 6 - March 27
review March 14th and March 20th 2004, by Louis Lopardi
In the opening tableau, the body of the preceding king is borne in on a palette and the crown is transferred to Henry the Fourth, who fumbles it, "So shaken" as he was (and shaky indeed is his claim on the title). Right from the start this Henry is a war-weary and care-worn figure. Seth Duerr - a master of body language - carries the weight of a kingdom barely balanced on his shoulders; endures it merely, until that weight shifts and he summons yet another peal of strength to see him through the next assail. The language is indeed "fresh and new" in his hands. In part 1, his highly refined voice control made possible a wildly funny bit in which both Prince Hal and Falstaff imitate aspects of his voice. In part-2, his act-4 scene "See, sons, what things you are" electrified the space. Mr. Duerr also directed part-2, giving it a decidedly darker feel suitable to the aging and increasingly battle-worn characters. Marc Silberschatz directed the energetic and exquisitely balanced part-1 (dangerously, at times, but creatively - and ultimately convincingly), and played a good Warwick in part-2 (with many other doublings). There was a good cast throughout, that I can but touch on here.
Jeremy Waters as Hotspur in part-1 maintained a fiery yet fiercely logical temperament throughout. (His act-4 speech to the emissary Sir William Blunt was supremely convincing in its sincerity - as it was meant to be.) He concisely said it all in his "this forgetful man" speech (I.3), with the simplest hand gesture. He played the character so close to the edge, the honed coupling-line of passion and sanity, that everyone's pulse quickened every moment he was on stage. His Lady was played by an excellent Laura Kressly. Nicole Benisch as Lady Mortimer gave us rather convincing snippets of Welsh and a heartrending Celtic-sounding ballade (by Seth Duerr).
Timothy Foley played a rugged Prince Hal, intelligent acting making his evolution (partly in part-1, fully in part-2) believable. This was absolutely a regent who would ultimately turn his back on the ilk of Falstaff. He revealed just enough of himself in his "I know you all" speech at the top of part-1. Our Falstaff, Tony Scheinman, was amiable as he wished, toying with the audience whenever he felt the need. He gave us the constant that was needed through the two plays, convincingly adding just enough bravura to show his newly burnished status in part-2.
Marti J. Cooney excelled as his Mistress Quickly, and held her own as the Scots terror "the Douglas." Diane Mashburn was a perfect Doll Tearsheet, a real live person, not a caricature. Jennifer Fine made a fierce and proud Prince John, with much doubling (a little unbelievably as the Sheriff in part-1, and taking a cue from Ovid, as a female "Rumor" to herald part-2). Also, D. Zhonzinsky, playing an aloof Northumberland, did an excellent character turn as Justice Shallow. But his take on Owen Glendower was strange - even for the weird Glendower. It is simply a wrong doubling because of the character pairings.
Battle sequences throughout were well staged, and (particularly in the fight between Blunt and The Douglas) some very convincing broadsword work was displayed, in that the weapons were used with historical accuracy, as fighting "tools" - can-openers more than slicing implements. A refreshingly realistic touch, courtesy of Michael McGuire and Marc Silberschatz. The simple but subtly effective Lighting Design was by Dana Sterling. (Assisted during a matinee by a fortuitous sunbeam through a stained glass window.)
In part-1, some of Falstaff's battlefield antics were cut and not missed. Purists will quibble, but in like manner the play's final moments were altered - with a good use (for once this season) of cinematic device. Balancing in parallel the opening tableau, Hotspur's body is borne in on a palette, soon followed by his Lady (Laura Kressly) who reprises the mournful Welsh song in direct competition with extended closing remarks by Henry. It underscored his fragility in the face of some very basic human emotions, and it worked beautifully.