CEDAR HILLS — William Shakespeare’s Henry V is currently playing in the picturesque Heritage Park in Cedar Hills through Creekside Theatre Fest. Summer theatre in the park always seems to be magical, and this evening of Shakespearian underdogs does not disappoint.
One of Shakespeare’s history plays, Henry V stars the newly crowned King Henry V, formerly Prince Hal, as asserts his claim to the French throne and invades France after receiving an insulting gift of tennis balls from the Dauphin. Henry faces internal threats, like a plot against his life, and external challenges, culminating in the famous Battle of Agincourt, where his outnumbered English forces triumph. The play concludes with Henry negotiating peace with France, securing his claim and winning the hand of Princess Katherine.
For many, going to a Shakespeare production can be intimidating, especially when each play can run anywhere from two to three hours (or more). This production of Henry V, however, finished in just under two hours, without losing any of the importance in the story. The cutting of the script is done with such dexterity that, in my opinion, makes it the perfect Shakespeare production to enjoy with the whole family.
Directed by Jon Liddiard, this show impressively utilizes stage pictures that clarify the story, create power dynamics, and showcase the evils of war. The three chorus members who create these pictures use very specific movements to clarify what is happening in the story. By interacting directly with the audience this way, the chorus bridges the gaps of the story that we do not see performed on stage. For those less familiar with Shakespeare language, this physicality is extremely helpful.
Liddiard also uses the set to create impressive power dynamics. The set, designed by Cannon Hadfield, adds many levels to the stage. Liddiard uses those levels to both equalize power dynamics and emphasize important disparities in power. For example, as Henry V talks with his troops in disguise, he remains on their level the entire time; however, when negotiating with the King of France he is quick to move up to a higher level, demonstrating the power imbalance. The use of the hill, especially during the fight, helps to visually demonstrate the underdogs and their literal uphill battle against the enemy.
An additional poignant directing choice is the royal throne located onstage throughout the duration of the play. Although never sat in, its presence looms over the setting as a constant reminder of each character’s ultimate goal. Additionally, similar to the use of the hill, a clever use of stairs also emphasizes the story by displaying the steep climb to the throne. This blend of powerful design and imaginative directing creates a dynamic and thoughtful piece of theatre.
This production is performed without any microphones, and this choice evokes Shakespeare’s traditional performance styles. The cast does an excellent job projecting and filling the park with their sound (even with some screaming children in the background). There are only a few times when it is difficult to hear them, and that is when they are facing the sides or back of the stage.
The sound and costumes are the only elements of this production that seem to struggle with a consistent tone in this production. The costumes, designed by Jen Christensen, mix the modern and classical. While this blend is original, it doesn’t seem to have a distinguishable pattern, with some characters completely modern and others more historical. However, it is very helpful that groups of characters (e.g. French, English) are color coordinated and had small additions to their base costume to change who they were. Because this was a small cast, most actors play multiple roles on both sides of the war. By changing colors or by adding a different hat it was easy for the audience to recognize the difference between the characters.
The sound design by Zac Bringhurst adds quite a bit in the first act of the play by cultivating intensity and smoothing out scene changes. In the second act, however, there is just less sound design overall. When it does return during the sword fight, it feels distracting because of the scarcity of sound throughout Act Two.
In terms of acting, this production is top of the line. All the actors not only know their lines, but they understand the script and their characters. Watching the actors switch between multiple characters is an incredible feat in itself.
Anton Moss is able to bring depth to both the Dauphin and Macmorris. He makes strong and clear character choices for each, making both characters their own unique person that is very entertaining to watch. Another powerful performance is Jarod Lewis as Henry V himself. Lewis brings passion to his role, especially to the speeches meant to rouse his troops. Annika Webb as Katherine shines in flirtatious moments, stealing the stage with Lewis in a masterful scene between the King and his betrothed. Additionally, Webb shares a delightfully lighthearted scene with Gabi Pack’s Alice that accentuates the talent of both.
Bo Chester is especially powerful in her performance as Boy. Chester brings heart to her character and crafts chemistry between her other chorus members, Kolton Nielsen and Joleah Long. These three chorus members move together seamlessly to add meaning to their scenes. All of their choreographed moments are meticulously synchronized, highlighting their skill in these bright spots of the show.
Creekside Theatre Fest’s evening in the park with Henry V is truly delightful. From the script cutting, to the design, to the direction, and finally to the acting, this performance checks all the boxes for a classical Shakespeare piece. By creating an accessible piece for all audiences while still staying true to the story, this version of Shakespeare’s Henry V by Creekside Theatre Fest would be an excellent outing for both Shakespeare veterans and newbies alike.
