Review: THE HISTORY PLAYS: RICHARD II, HENRY IV, AND HENRY V at Guthrie Theater

Legacy, honor, torment, and heroism. Four words that perfectly encapsulate the mammoth undertaking that William Shakespeare undertook when he authored the history plays of Richard II, Henry IV, and Henry V, now running in repertory at the Guthrie Theater.

The History Plays have been designed and directed to be seen in any order the audience chooses to see them. Whether only picking your favorite of the three, seeing each of them on individual days, or settling in for one of the two Marathon Days where the audience is treated to all three plays in a single day (an experience that will not soon be forgotten). Guthrie Artistic director Joseph Haj and his team have taken on the momentous task of creating a thrilling theater-going experience, the likes of which have not been seen on the Guthrie stage in 34 years.

Readers note: As the cast and creative team were the same for all three productions, all comments will be encapsulating the full body of their work, while select performances will be singled out. Full plot descriptions are provided at the bottom as provided by the Guthrie Theater.

An undertaking of this magnitude may seem daunting but Joseph Haj has made it look effortless. He has taken three incredibly dense but profound plays and made them accessible for his audience. He has infused a fair amount of comedy into the plays, which provided the audience an outlet for when the stories start to get bleak, as history often is.

Haj’s direction is never focused on placing the action simply at center stage unless we are at court, it feels extremely deliberate and places the audience in the position of feeling like we are part of the show. Even as the kings face their fates at the end of each play, the audience is forced to face it with them.

The theme of our monarchs standing center stage is even exhibited early on. Entering the theater, the audience is welcomed into a throne room, a single spot light illuminates a golden crown in the center of the stage, perhaps suggesting that we are to feed into the belief that the monarchies believed that they were ordained by god. It is a striking visual to enter into and an even more striking moment when the play begins.

This is just the first of the mesmerizing lighting designs by Tony Award nominated lighting designer, Heather Gilbert. Her use of lighting throughout the plays not only seeks to elevate the stories but also to make the audience feel a range of emotions: elations, horror, triumph, and even fear. Gilbert never shies away from using every color that the can. From the elation of upcoming nuptials, using gorgeous pink and purples, to the horrors of the battlefield using gritty and depressing grays. There is no shortage of mood created on the stage.

Visually working hand in hand with

Gilbert is scenic designer, Jan Chambers, who had crafted an immensely immersive and yet barren set that changed and rotated so often that it seemed like it was comprised of hundreds of different rooms and locations. It may be one of the most visually striking sets in recent memory, simply because it was so simple and yet so effective in every scene.

Adding a final layer to the visual aspect is costumer designer, Trevor Bowen, who had perhaps one of the most difficult tasks, creating what seemed to be hundreds of costumes. From tavern wenches to the high nobility of France, Bowen has meticulously created wearable art that is a feast for the eyes.

His greatest feat may be the way that the fashion that he has dressed the actors in, begins to progress through time just as the plays do. Thus providing the audience with another avenue to see that there has been a passage of time, coming to a dazzling conclusion with his designs for the French monarchy.

Taking on the titular roles of the monarchs are Tyler Michaels King (Richard II), William Sturdivant (Henry IV), and Daniel José Molina (Henry V).

Michael King immediately sets the tone for how Richard II will progress, he presents himself as a firm yet gracious king brimming with life, almost seeming to float as he moves and gestures. An intentional choice that is demonstrated as his movements and way of speaking begin to parallel Richard’s world seeming to unravel around him as Bolingbroke gains followers and support for his plan to overthrown the monarchy. Richard seems to become almost bogged down and a hollow shell. Through this, Michaels King provides a stunning portrayal of a man who was on top of the world and through no fault of his own, but merely his kindness, he is reduced to a husk of a man with seemingly no way out but on his own terms.

Taking up the crown next is William Sturdivant who provides the audience with a hardened Henry IV. Having to portray a father who simply wants the best for his freewheeling son, while also trying to fend off the invasion of a man who believes he is the rightful heir to the throne, is no small feat and Sturdivant does it masterfully. He plays Henry as stern but also gentle, providing the audience with a portrayal of a man who simply is trying to keep a grasp on what he has achieved but also what he hopes to leave behind for his son.

Sturdivant shows his true acting chops near the end of the play as he fights to survive the bitter illness that is ravaging his body, while trying to pass along his legacy to a son who he has done everything for and doesn’t seem to be ready to rule.

Leaving the crown to Daniel José Molina’s tour deforce performance of Henry V. Molina has the difficult task of portraying Henry in both Henry IV and Henry V and the range at which he plays Henry is truly astonishing. Beginning as a freewheeling son of the king, who surrounds himself with bar maidens and rascals, and transforming into a king who must find his footing in a world that he longs to claim for his own, is no small feat.

Molina commands the stage every time he is on it. His portrayal of Henry is so easy to be endeared to because he feels so realized as person. Molina doesn’t just play a newly crowned king, he embodies him. From his heartfelt speeches with his friends and comrades on the battle field, to his almost villainous outbursts when he has been betrayed, Molina gives such life to a very flawed character whom the audience can’t help but sympathize with.

While these three extraordinary gentleman portray the title roles, the troupe of players who fill out the rest of the roles in these three plays are beyond exceptional. It would not be an over exaggeration to say that they may be the best cast of players to touch the Twin Cities stages in decades. Their commitment to each role that they embody and bring to life, is almost unnaturally perfect.

The History Plays is nothing short of an utter triumph and it should be celebrated as such. It is a transcendent experience that will live with you forever. If you are unsure which play to see, see below for each synopsis provided by the Guthrie Theater, but in all honesty see them all. You won’t regret a moment.

Photo Credits: Dan Norman

Richard II: King Richard II presides over a complaint lodged by his cousin Henry Bolingbroke about the murder of their uncle, the Duke of Gloucester. Serving justice — and his own political agenda — Richard banishes Bolingbroke and takes advantage of his exile to seize his family’s estate and fund military activities in Ireland. When Bolingbroke returns early to reclaim his rightful inheritance, he quickly gains a following of sympathizers unhappy with Richard’s rule, including the powerful Percy family. With his grip on the realm slipping and the country’s stability at risk, Richard is forced to choose between confronting the rebellion and giving up the crown — the only identity he has ever known.

Henry IV: King Henry IV hopes to lead an expedition to the Holy Land to atone for his part in Richard II’s death, but he is hindered by civil discontent in England. Meanwhile, the king’s oldest son and heir, Prince Henry, spends his time in London participating in pranks and robberies with father-figure Sir John Falstaff and other boisterous companions. As the political opposition to Henry grows, his former allies seize the opportunity to launch an open rebellion against the king. Among the leaders is young, hotheaded Harry Percy (aka Hotspur), who seeks glory on the battlefield. The two armies meet at the Battle of Shrewsbury where Prince Henry fights for redemption amidst swirling uncertainties of allegiances and succession.

Henry V: King Henry IV hopes to lead an expedition to the Holy Land to atone for his part in Richard II’s death, but he is hindered by civil discontent in England. Meanwhile, the king’s oldest son and heir, Prince Henry, spends his time in London participating in pranks and robberies with father-figure Sir John Falstaff and other boisterous companions. As the political opposition to Henry grows, his former allies seize the opportunity to launch an open rebellion against the king. Among the leaders is young, hotheaded Harry Percy (aka Hotspur), who seeks glory on the battlefield. The two armies meet at the Battle of Shrewsbury where Prince Henry fights for redemption amidst swirling uncertainties of allegiances and succession.

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