{"id":3566,"date":"2020-09-30T18:40:40","date_gmt":"2020-09-30T18:40:40","guid":{"rendered":"https:\/\/pashakespeare.org\/?p=3566"},"modified":"2021-01-13T19:05:04","modified_gmt":"2021-01-13T19:05:04","slug":"shakespeare-and-his-band-of-brothers-henry-v","status":"publish","type":"post","link":"https:\/\/pashakespeare.org\/press\/shakespeare-and-his-band-of-brothers-henry-v\/","title":{"rendered":"Shakespeare and his Band of Brothers: Henry V"},"content":{"rendered":"
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Shakespeare and his Band of Brothers: Henry V<\/h2>\n

By Heather Helinsky
\nDramaturg<\/p>\n

1599: An extraordinary year for Shakespeare as an Elizabethan dramatist.\u00a0 As he explores the dimensions of King Henry V\u2019s legendary status as England\u2019s greatest warrior in his play of the same title, he\u2019s also emerging as one of England\u2019s preeminent playwrights and professional theatre practitioners.<\/p>\n

Shakespeare and his fellow dramatists were writing for an audience of all classes who thrived on new plays. London at that time had a population of roughly 200,000 and on average, based on ticket sales, one-third of London\u2019s adult population saw a play every month. Unlike our contemporary understanding of playwriting as a creation by a single author, most Renaissance plays were co-authored. But we believe Shakespeare authored most of his plays alone. His major competition, England\u2019s groundbreaking and popular playwrights Thomas Kyd, Robert Greene, and George Peele were now ghosts, and the famed Christopher Marlowe had recently died.<\/p>\n

In the prior season of 1598, Shakespeare had penned\u00a0Romeo & Juliet<\/em>\u00a0(think of the film\u00a0Shakespeare in Love)<\/em>\u00a0as well as a very popular and controversial two-part blockbuster\u00a0Henry the Fourth<\/em>.\u00a0 The Epilogue of\u00a0The Second Part of Henry the Fourth<\/em>\u00a0is interesting because there are two competing endings that advertised two very different plays to come. One epilogue we know was delivered by the comic actor Will Kemp, who declared \u201cour humble author will continue the story, with Sir John [Falstaff] in it, and make you merry with fair Katherine of France.\u201d<\/p>\n

Sir John Falstaff is the well-known drunken mentor to the young Prince Hal, who would become king in Shakespeare\u2019s next promised play,\u00a0Henry V<\/em>. \u00a0But in the second epilogue, there were no such promises of a merry play with Sir John Falstaff.\u00a0 In a more polished speech that Shakespeare himself may have delivered to the audience, he used merchant class imagery to suggest that the playwright and playgoers are shareholders in an unpredictable new venture:
\n\u201cBe it known to you, as it is very well, I was lately here in the end of a displeasing play, to pray your patience for it, and to promise a better<\/em>.\u201d<\/p>\n

Yet when\u00a0Henry V<\/em>\u00a0hits the stage, not only has the comic Will Kemp left Shakespeare\u2019s company, the Lord Chamberlain\u2019s Men, but the character of Sir John Falstaff has been killed off just as Prince Hal becomes King Henry V\u2014a betrayal of friendship that is one of the significant themes of the next play. Will Kemp\u2019s response to why he left the company was a puzzling pun that he had \u201cdanced his way out of the world.\u201d Another major change for Shakespeare and his company was they had moved to the Bankside of London in the newly constructed Globe Theatre, open for business for the first time in late March of 1599.<\/p>\n

Without the company\u2019s favorite comic actor and the Lord Chamberlain\u2019s Men changing locations to the Globe Theatre, Shakespeare had to deliver the goods. By the end of the year, Shakespeare completed\u00a0Henry V<\/em>, wrote\u00a0Julius Caesar<\/em>\u00a0and\u00a0As You Like it<\/em>, then drafted\u00a0Hamlet<\/em>. Short of time travel, we cannot ask Shakespeare directly what was on his mind, so, as with the opening prologue of\u00a0Henry V<\/em>, we have to imagine the circumstances and pressure he was under as the writer.<\/p>\n

Early in 1599, England\u2019s national poet, Edmund Spenser, author of\u00a0The Faerie Queen<\/em>e, had died and the mourners at his funeral would have gone to the service at Westminster Abbey. Perhaps during the long mass, someone\u2019s eyes were turned upwards to a high wooden beam clearly visible in Westminster Abbey, where King Henry V\u2019s saddle, helm, and shield were hung as symbols of his war achievements. Henry V was the first English monarch to be buried in a separate chantry with the inscription: \u2018Henry V, hammer of the Gauls, lies here.\u2019 Next to the king, in an open wooden coffin, some privileged Elizabethans were allowed to kiss the mummified lips of Queen Katherine of Valois. Among the other statues of St. George and St. Denis and inscriptions proclaiming Henry V\u2019s glorious accomplishments in war, there are two aspirations: \u2018Virtue conquers all\u2019 and \u2018Flee idleness\u2019.<\/p>\n

Meanwhile, London\u2019s lord mayor was directing his chief officers to recruit men from even the city\u2019s privileged suburbs to fight a complicated mess of a war in Ireland. Shakespeare and his fellow actors, were exempt from military services because they performed for the Queen. A line in another play written in 1599 states: \u201cWe players are privileged,\/\u2019Tis our audience must fight in the field for us,\/And we upon the stage for them.\u201d (Histriomastix<\/em>\u00a0by John Marstron).\u00a0 Perhaps this explains why\u00a0Henry V\u00a0<\/em>begins with a simple Chorus stating:<\/p>\n

O, for a muse of fire, that would ascend<\/em>
\nThe brightest heaven of invention,<\/em>
\nA kingdom for a stage, princes to act<\/em>
\nAnd monarchs to behold the swelling scene!<\/em><\/p><\/blockquote>\n

\u201cWhat intrigues me in this epic tale of British history is that Shakespeare strips down to the bare essentials: the character\u2019s journey and what makes them flawed human beings,\u201d says award-winning Philadelphia-area director and DeSales University Theatre alumni Matt Pfeiffer who returns to PSF to direct\u00a0Henry V<\/em>.\u00a0 He sees the benefits of Shakespeare\u2019s call for the audience to use their imaginations instead of the huge spectacle of the blockbuster film. \u201cI prefer to do Shakespeare with nothing,\u201d he says.<\/p>\n

Pfeiffer also finds it interesting that this play set on the battlefields of France calls for no grand fight scenes on stage. As a director, he has to approximate the energy of the battlefield without the flashy spectacle of\u00a0Game-of-Thrones<\/em>-style fighting.<\/p>\n

A formidable \u2018half-wooden O\u2019, to approximate the playing space of The Globe Theatre, will command the Labuda Main Stage. The Bob Phillips-designed set will echo the spiritual and eternal elements of Shakespeare\u2019s Globe, but it will not be a true historic representation of it. Both Pfeiffer and Phillips wanted the set design to evoke the space of a grand cathedral. \u201cGod is also a big player in\u00a0Henry V<\/em>\u00a0and I wanted to track the religious imagery in this play by creating a solemn theatrical space,\u201d says Pfeiffer.<\/p>\n

Pfeiffer also learned from directing\u00a0The<\/em>\u00a0Two Gentleman of Verona\u00a0<\/em>last year in the smaller Schubert theatre space that he wanted to \u201cevoke the spirit of Shakespeare\u2019s play without it being a museum piece. We are using period costumes, but with so many kings and dukes appearing in this play, we\u2019re doing a leaner version without total fidelity to historical representation.\u201d This will also be reflected in double casting the roles, as Pfeiffer is combining and reassigning roles to simplify the characters on the French and English sides of the battle to a smaller team of three or four representatives.<\/p>\n

Pfeiffer prefers intimate storytelling and, as with\u00a0Two Gents,\u00a0<\/em>he will use live music performed by the actors to help create this effect. Although there won\u2019t be a band on stage, the actors will create the atmospheric sounds of battle with a lot of percussion and voices. \u201cThe sounds of war [will] have a tactile, human component, as we follow Henry V\u2019s journey realizing the human costs of wars fought to unite England.\u201d<\/p>\n

Which brings us back to Shakespeare\u2019s original dilemma: after promising to write a play that would include the comic Will Kemp as the popular Sir John Falstaff, as well as taking on the great war hero \u201cKing Henry V, the hammer of the Gauls\u201d at a time where the London Lord Mayor was essentially drafting young men to fight an unpopular conflict in Ireland, what is a writer to do? How does one follow in the footsteps after the death of England\u2019s national poet Edmund Spenser, or fellow playwright the slain Christopher Marlowe? We can never know for sure, other than to examine the storytelling choices made in\u00a0Henry V<\/em>. Perhaps the answer was as simple as looking up to the rafters of the Westminster Cathedral for inspiration. What does it mean when a great King\u2019s final epigram wants to remind the living: \u201cVirtue conquers all\u201d and \u201cFlee idleness?\u201d<\/p>\n

What it means to be human during war emerges as a central theme throughout Shakespeare\u2019s writing career. Shakespeare was a poet of many themes, and he brought particular mastery to the intersection of war and humanity. Many of his characters are professional soldiers. Beyond the histories of warring kings and lords of Richard III, Richard II, Henry IV, we also have Titus Andronicus and all his sons, Macbeth and his thanes, Julius Caesar, Brutus and Cassius, Mark Anthony and Octavius Caesar. Iago betrays his fellow soldiers Othello and Cassio. Even in the comedies, Benedick and his colleagues in\u00a0Much Ado About Nothing\u00a0<\/em>are serving together before they descend on Messina for their \u201cmerry war\u201d of courting. Bertram escapes his troubles through serving in the military in\u00a0All\u2019s Well That Ends Well<\/em>. And the list goes on.<\/p>\n

So with many Shakespeare\u2019s plays populated with professional soldiers, we come back to\u00a0Henry V<\/em>\u00a0and to see the humanity in the relationships on the battlefield, even though all the actual fighting and bloodshed is offstage. There\u2019s also no spectacular parade in Act Five as the victorious English return home, although the nation seems united and triumphant with a conquering hero. Instead, Shakespeare\u2019s play invites the audience to debate, posing just as many questions as answers. How does young Prince Hal \u2018flee idleness\u2019 and gain respect as the hero uniting England? What self discoveries are made as the hero makes his journey through the battlefields? How does war change our relationships not just with our enemies, but with our loyal friends and ourselves? What does an ideal king need to do to gain respect from his men? Is there such a thing as a just war?<\/p>\n

Just as director Matt Pfeiffer intends to discard the trappings of spectacle in favor of simplicity, Shakespeare ends his story with an epilogue, reminding the audience once again that the theatre is a \u201clittle room confining mighty men<\/em>.\u201d Yet unlike the epilogue of\u00a0The Second Part of Henry the Fourth<\/em>, he is confident he has earned his standing as England\u2019s great playwright:<\/p>\n

\u201cWhich oft our stage hath shown: and, for their sake,<\/em>
\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In your fair minds let this acceptance take<\/em>.\u201d<\/p>\n<\/div>\n

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Shakespeare and his Band of Brothers: Henry V By Heather Helinsky Dramaturg 1599: An extraordinary year for Shakespeare as an Elizabethan dramatist.\u00a0 As he explores the dimensions of King Henry V\u2019s legendary status as England\u2019s greatest warrior in his play of the same title, he\u2019s also emerging as one of England\u2019s preeminent playwrights and professional […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12,31],"tags":[],"acf":[],"yoast_head":"\nShakespeare and his Band of Brothers: Henry V - Pennsylvania Shakespeare Festival<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pashakespeare.org\/press\/shakespeare-and-his-band-of-brothers-henry-v\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Shakespeare and his Band of Brothers: Henry V - 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