Combining three of Shakespeare’s plays into one makes these histories come alive

A stripped-down adaptation and mashup of Shakespeare’s Henry IV Parts 1 & 2 and Henry V, Henry is the season opener at UCCS’s Theatreworks. It is an epic tale that dives into the rigors of leadership in 15th century England, a composite of many kings  through medieval times.

Adapted and directed by Max Shulman, Henry is a thrill that taps all the senses. A brilliantly simple, muti-level stage sets the audience on three sides as the actors speak the poetic cadence of Shakespeare’s voice. Patrons will feel the breadth of passion as the actors embody complex characters and decipher convoluted plots in old-world speak.

Colton Pratt is electric in his portrayal of Henry V — from the rambunctious Prince Hal to the reluctant king. In one scene, a rowdy Hal navigates the pub with perfect agility as he regales comic tales to his Eastcheap low-rent entourage while foreshadowing the unrest to come.

Listen to the OnStage Colorado Podcast interview with Director Max Shulman

From boy to man

Later, as he assumes the crown, we are transported into his stupendous victories and deflating losses as he bears the weight of leadership with flashes of humility. The storyline loosely follows events culminating in the Battle of Agincourt during the Hundred Years’ War. For the history buffs, don’t look for pinpoint accuracy or a linear trajectory. The play is a composite of several Shakespeare plays that chronicle England’s dynastic struggles.

The show’s set, sound and lighting are well executed. Bold and muted illumination divert the eye from the stage to hidden catwalks softly lit in amber hues to replicate candlelight. Actors suddenly appear, rattle off a few lines before the light fades and the action moves on. Nimbly, they traverse the stage, jumping onto stools and tables before climbing and descending staircases. Their movements are a dance harmonized with words (many words, after all it is Shakespeare!).

Sounds are statements, regal and perfectly timed to transcend the mood from ominous to whimsical. Disappointingly, costume design seemed amateurish, reminiscent of my high school production of Camelot.

Logan Ernstthal, left, is a scene stealer in ‘Henry’ | Photo: Chuck Bigger

The old king

Erik Sandvold is a standout as the ailing Henry IV. His impressive vocal range matches his stage prowess as he thrashes his heir to bits only to fall ill and die leaving young Hal to trek his journey toward kingship.

Central to the plotline, Sir John Falstaff (Logan Ernstthal) steals most scenes with his larger-than life comic persona and superb command of the stage. Then, in a New York minute, he becomes the regal Earl of Northumberland acquiescing to the king.

A mainstay on local stages, Amy Brooks does not disappoint in not one but four roles in Henry. From demure to forceful to introspective, she can be the scene’s moral compass or the snarky wench, all with ease.

Helmuts off to Fight Director Samantha Egle. It is no small tasks to wield metal swords around a small stage, let alone to choreograph actor movements into plausible duels with clinking swords and carnage. It’s very well done, and Egle also handles the intimacy direction.

There are twists and turns, alliance made and dissolved, passions and hatred fueled and doused as Henry follows the military exploits of his royal ancestors. Enough of the performers are believable to make it feel real. The audience is part of the battle, downing a pint (or 10) in the pub, or standing before the throne as nobility.

Except for Henry, all the cast members play multiple roles. We see them in the Court, the pub and on the battleground — all with credibility. Yes, the staging is that clever and the actors that adept.

Henry is the third of four of Shakespeare’s plays spanning the reign of various kings during the rise of the House of Lancaster. Mixing comedy with history, Shulman strikes a thoughtful but entertaining balance to engage and enchant the audience.

“Uneasy lies the head that wears a crown” reflects a clear connection between privilege and obligation. It is a reality best heeded during this period of uncertain leaders and leadership in our own times. A fine and timely selection, Theatreworks!