Back to the future… Henry V, The Maltings Theatre, The Roman Theatre of Verulamium

“We few. We happy few. We band of brothers…”

After the drought, an outpouring of pure theatre in the eerie surroundings of St Albans’ 1900-year-old Roman Theatre and an event that already feels like the sweetest of dreams after five months without live performance. This was socially-distanced theatre and the Romans were typically ahead of the game in constructing this open-air wonder that allowed for a safely-spaced capacity audience on three levels as well as a single file bar and the odd fly past of murmurating starlings.

Director Matthew Parker had been tasked with devising a production to meet the “new normal” and managed to weave this into his typically innovative staging by presenting Henry as a school play or rather a play within a school play with entreaties to maintain social distancing carried over from rehearsals as the teacher’s call to pupils. If this sounds over-complicated it wasn’t as Mr Parker, as so often, succeeds in making the most complex of situations flow as naturally as the ancient verse from the mouths of his performers.

Matthew was also limited to ten players and so, in addition to being school children and teachers, they also had to play more than one character often transitioning in the switch of a line with all joints invisible. Some of us may have lost some match fitness over the last five months but these guys were straight into Olympic levels of heptathlon multi-eventing and it was an absolute joy to see.

The stage is set in The Roman Theatre of Verulamium

 I also had unfinished business with Henry V with my mother-in-law having fainted a few years back during a performance of what is one of her favourite Shakespeare’s at The Globe… she’s seen the play dozens of times but I missed the ending and so this was my first complete run through and I was pleasantly surprised to see that the Agincourt result went the King’s way given what appeared to be overwhelming odds.

So, it was an afternoon of reconnections and the energy from the audience was palpable from the start and we were all lifted by the glorious team work on stage as Ms Nightingale (Cassandra Hodges) readied her pupils for a run through. This is a very kinetic production and the “pupils” and players were in constant motion moving forward on the stage for their lines as if limbering up for the high jump or a rap battle. None of these distracted from the play with the physical pacing designed to move the audience and the characters deeper into the drama as it unfolds.

Through the wind and the rain... Shot from Laura Harling.

Henry V is “meta” enough well before its time with the Chorus/Ms Nightingale explaining that there cannot be stage scenery enough to do justice to the full glory of the King’s story and our mind’s eyes duly tipped off we begin to imagine the backdrops superimposed over the Hertfordshire countryside beyond. There’s also a humour that’s little changed over the centuries with the French Dauphin (Luke Adamson) responding to Henry’s signalled intent to claim his rightful throne with the gift of tennis balls, a reference to his youthful immaturity.

But this is not the same Henry as in Shakespeare’s Henry IV plays and here, as played by Mara Allen in her first leading role – a double challenge, very well met – the young King is in full command with an emergent ability to inspire and lead.

"Now all the youth of England are on fire... They sell the pasture now to buy the horse, / Following the mirror of all Christian kings ...."

Henry survives an assassination attempt from the Earl of Cambridge (Rachel Fenwick showing her Shakespearean pedigree throughout) and sets off for France. The play, as with so many, was the playwright’s attempt to not only justify the legitimacy of the Tudor throne but also to laud the character of Queen Elizabeth’s forefather. Henry’s leadership skills are demonstrated in the first battle for the town of Harfleur as the king implores his struggling troops to return “once more unto the breach…”

Dauphin Luke Adamson and King Jack Reitman. Photo Laura Harling.

By contrast, the French are painted as arrogant, although King Charles VI (Jack Reitman, Offie award-winning for The Hope’s Thrill Me – also a Parker production) is one of the few not to underestimate the invaders. I loved the richness of the minor characters such as Welsh moaner Fluellen (Mr Adamson again), the unscrupulous Bardolph (Paula Gilmour) and the energetic Bates as played by Felipe Pacheco who gave such a physically fluid performance, lots of snap in his long staff as well as kick in his heels.

The play’s a lovely mix of grand scale and common folk cameo all of which reinforces Henry’s humanity and leadership qualities. Famously, on the eve of the impossible victory at Agincourt, he walks in disguise among his soldiers to gauge their mood and give himself fuel for the fiery speech that will lead them to prevail thanks to archers and organisational inspiration. There’s death and diplomacy interlaced with humour and I loved the Franglais of Princess Katherine (Ms Fenwick again) as she struggles with English pronunciation with the aid of her maid Alice, with Paula Gilmour skilfully channelling the Essex accent of school player Josie for the word “nails”, an’ “’ands”.

 All of the cast get their chance to shine with rounded multi-roles from Melissa Shirley-Rose, Edward Elgood and James Keningale, especially as the blustering Pistol! All get their chance to dance to at the rousing finish with modern beats which would have confounded the Bard.

Mara Allen in command. Photo Laura Harling.

The acid test for any Shakespearean production is being able to deal naturally with the dialogue whilst opening up the meaning to modern audiences and I have to give Mr Parker’s “class” 10/10 for that: we were entertained and enlightened and that’s something I missed the most about theatre this year.

IThankYouTheatre Rating: ***** It’s a treat to see Shakespearean sophistication at this level in Hertfordshire or, indeed, anywhere. Please support this season: theatre is back and not a moment too soon!

Henry V continues along with the rest of the Open-Air season until 31^st August and tickets are available from the Maltings website.

All photographs from Laura Harling except for my day-time shot of the rain-free theatre.

All killer, no filler... Thrill Me: The Leopold & Loeb Story, Hope Theatre

The upstairs room of The Hope and Anchor is always the extra character in every play I’ve seen, it’s like a sentient being in an Alan Moore fantasy, one that is haunted by the intentions of stage and lightning designers and the stories they tell. Tonight, the room was working overtime as artistic director Matthew Parker’s flair for movement and space brought out new and genuinely shocking dimensions as it always does.

Leopold and Loeb, the two “thrill-killers” suddenly feel the Police closing in and the nervy Leopold swings a torch around revealing a wall plastered with photographs and cuttings from the original murder in 1924. These are all linked together by red cord which criss-crosses the walls and the space above our heads; we’re in an incident room and a young boy has just been horribly murdered by two hyper-intelligent sociopaths.

The two men were saw themselves as Nietzschean supermen, whose superior intellects should allow them to rise above the laws of common men, they began to indulge in criminal exercises just for the hell of it and again, there’s a particularly visceral sequence in which they torch a warehouse and Loeb’s face is lit bright red as he revels in the transgressive destruction and sings, Nothing Like a Fire. There is also a powerful sexual connection between the men and their deeds with Loeb, always the master, making sex conditional on their escapades and passions run alarmingly high after each crime.

Jack Reitman. All photos credit lhphotoshots

Parker doesn’t hold back and before you know it the audience is complicit in the relationship and the tragic attractions of this deadly pursuit, I’ve seen a lot of excellent shows at this venue and Thrill Me is surely one of the most intimately engaging: we’re dared to look into the hearts of men who committed the most appalling of acts, killers who Leopold later said were only human. This is a musical but of the most challenging and ultimately rewarding kind.

For all this to work, you need exceptional leading men and in Bart Lambert and Jack Reitman, Parker has found actors who not only look the part but have West-End power to their vocals as well as nuanced emotional control. As the dominant Richard Loeb, Reitman’s film-star looks are backed up by subtle reading of his character; yes, Loeb is the most overtly sociopathic and daring of the couple but he is also allowed chinks of vulnerability that show he needs his lover as much, perhaps, as he is needed.

Bart Lambert imbues Nathan Leopold with a febrile uncertainty, driven by an obsessive love for Richard and the constant cruelty pushed his way – Loeb calls him “Babe” but only sparingly as he knows he likes it… he undermines at every turn but perhaps he needs the lift?

Bart Lambert. Photo lhphotoshots

Together they drive each other on as the two law students think of ever more thrilling ways to break the rules they have studied - both still aspiring to be lawyers "after".

Stephen Dolginoff’s musical was originally staged in 2003 and tells the story in flashback from Leopold’s parole hearing in 1958 with the narrative switching back and forth to key moments in the men’s relationship. The songs are strong and allow both voices to shine as they sing about subjects that by all rights should be too complex, Richard’s singing about luring their murder victim to his car in Roadster is quite the most disturbing song I’ve heard all year and yet it’s pitched just right; you feel terrible and yet there’s a glimpse of the motivation behind this horrific act.

Tim Shaw sits behind the keyboards, accompanying in fine style, at first noticeable and then fading into the background - in the best possible way - as the story takes hold.

Chris McDonnell lighting design is exceptional as is Rachel Ryan's design and you get a sense of the team ethic of Mr Parker’s Hope which drives the theatre onwards with every new show. Thrill Me is a remarkable show and I if you’re looking for an adventure into the genuinely unexpected, take a walk on the wild side and book with confidence… you’ll still be feeling the show in the days that follow.

IthankyouTheatre rating: ***** For those who don’t believe that musical theatre can tackle complicated real-life stories this is unmissable; it’s an adventure into the lives and love of two killers that fearlessly asks “why?”

Thrill Me, plays at the Hope Theatre until 20th April, full details on the website.