King Henry IV Part 1 is an epic tale of power, treachery and war, exploring the complexity of father-son relationships Stage director: Dominic Dromgoole. Screen director: Robin Lough. Featuring: Jason Baughan, Roger Allam, Patrick Brennan, Daon Broni, Phil Cheadle, Oliver Coopersmith, Oliver Cotton, Sam Crane, William Gaunt, Christopher Godwin, Sean Kearns, James Lailey, Danny Lee Wynter, Kevork Malikyan, Barbara Marten, Jamie Parker, Paul Rider, Lorna Stuart, Joseph Timms, Jade Williams.
In 1978, the BBC set itself the task of filming all of William Shakespeare's plays for television. The resulting productions, renowned for their loyalty to the text, utilised the best theatrical and television directors and brought highly praised performances from leading contemporary actors.
Henry IV Part Two (1979): Prince Harry's father figures are ageing. While the King frets about the Prince's lifestyle, Falstaff continues to make merry. But there are serious matters afoot. Prince John has to lead the King's army against an uprising, and Hal is forced to reassess his attitude to responsibility as his father grows increasingly sick. Retaining the same cast and director as Part One, this production assuredly charts the transformation of the Prince. It reflects the play's darker and more intimate focus, but contrasts it with colourful scenes from Falstaff's Eastcheap as well as the bucolic Gloucestershire of Shallow and Silence.
Starring: David Gwillim, Michele Dotrice, Jon Finch, Bruce Purchase and Brenda Bruce.
Distributed under licence from Educational Publishers LLP
Hotspur is dead and Prince Hal has proved his mettle on the battlefield, but Henry IV lies dying and the rebels, though scattered, show no sign of declaring their allegiance to the Crown. Stage director: Dominic Dromgoole. Screen director: Robin Lough. Featuring: Roger Allam, Jason Baughan, Patrick Brennan, Daon Broni, Phil Cheadle, Oliver Coopersmith, Oliver Cotton, Sam Crane, William Gaunt, Christopher Godwin, Sean Kearns, James Lailey, Danny Lee Wynter, Kevork Malikyan, Barbara Marten, Jamie Parker, Paul Rider, Lorna Stuart, Joseph Timms, Jade Williams.
Shakespeare’s masterpiece of the turbulence of war and the arts of peace tells the romantic story of Henry’s campaign to recapture the English possessions in France. But the ambitions of this charismatic king are challenged by a host of vivid characters caught up in the real horrors of war. Stage director: Dominic Dromgoole. Screen director: Ross MacGibbon. Featuring: Jamie Parker, Nigel Cooke, Sam Cox, Kurt Egyiawan, Matthew Flynn, David Hargreaves, James Lailey, Paul Rider, Roger Watkins, Brid Brennan, Graham Butler, Giles Cooper, Beruce Khan, Brendan O'Hea, Olivia Ross, Chris Starkie, Lisa Stevenson.
The Tudor Court is locked in a power struggle between its nobles and the Machiavellian Cardinal Wolsey, the King's first minister and the most conspicuous symbol of Catholic power in the land. Stage director: Mark Rosenblatt. Screen director: Robin Lough. Featuring: Michael Bertenshaw, Sam Cox, John Cummins, Ben Deery, Mary Doherty, John Dougall, Will Featherstone, Peter Hamilton Dyer, Anthony Howell, Colin Hurley, Miranda Raison, Dominic Rowan, Dickon Tyrell, Kate Duchene, Amanda Lawrence, Ian McNeice.
Richard Dreyfuss, Kelsey Grammer and Stacy Keach star in one of Shakespeare's most revered tragedies.
The skies over ancient Rome blaze with terrifying portents, and soothsayers warn Julius Caesar of approaching doom. As conspiracy swirls through the city, Shakespeare explores the deep repercussions of political murder on the human heart. A classic tale of duplicity, betrayal and murder, masterfully performed by an all-star, all-American cast in this BBC co-production. “...a wonderful addition to any audio theater library.” Audiofile Magazine An L.A. Theatre Works full-cast performance featuring: Stacy Keach as Marcus Brutus John de Lancie as Cassius Richard Dreyfuss as Marc Antony Harold Gould as Caesar Jack Coleman as Casca JoBeth Williams as Portia Bonnie Bedelia as Calphurnia Kelsey Grammer as Murellus John Randolph as Flavius and Artemidorus Arye Gross as Octavius alongside the voices of Paul Winfield, John Vickery, Basil Langton, David Birney, George Murdock, James Morrison, Andrew White, Rudy Hornish, Lee Arenberg, Jon Matthews, Josh Fardon, Paul Mercier, Arthur Hanket and Marnie Mosiman Directed by Martin Jenkins. Recorded at KCRW, Los Angeles in November, 1994.
Featuring: Lee Arenberg, Bonnie Bedelia, David Birney, Jack Coleman, John de Lancie, Richard Dreyfuss, Josh Fardon, Harold Gould, Kelsey Grammer, Arye Gross, Arthur Hanket, Rudy Hornish, Stacy Keach, Basil Langton, Jon Matthews, Paul Mercier, James Morrison, George Murdock, John Randolph, John Vickery, Andrew White, JoBeth Williams, Paul Winfield
Opposing dictatorship and republicanism, private virtue and mob violence, Shakespeare’s tense drama of high politics reveals the emotional currents that flow between men in power.
Featuring: Catherine Bailey, Sam Cox, Patrick Driver, Anthony Howell, George Irving, Joe Jameson, Tom Kanji, Christopher Logan, William Mannering, Tom McKay, Keith Ramsay, Paul Rider, Katy Stephens, Luke Thompson, Dickon Tyrrell.
More troubled and troubling than King Henry IV Part 1, King Henry IV Part 2 is the second play in the Henriad tetralogy, continuing the story of King Henry’s decline and Hal’s reform. Though Part 2 echoes the structure of the earlier play, its is a darker and more unsettling world, in which even Falstaff’s revelry is more tired and cynical, and the once-merry Hal sloughs off his tavern companions to become King Henry V. Though probably less written about and performed, critics have nevertheless praised the play for its mature style.
The play was written soon after Part 1, probably in 1598. This text, based on the 1600 First Quarto, is supplemented by additional sequences from the 1623 First Folio. It is uncertain whether the play was conceived as a second part, a sequel, or an independent play in its own right. Unlike the popular Part 1, there were no reprints of Part 2 before the Folio, perhaps due to censorship. It uses similar source matter to Part 1, including Holinshed’s Chronicles (1587), The Mirror for Magistrates (1559) and Daniel’s Civile Wars (1595), and thematically it also echoes Part 1, in its concerns about kingship, miscalculation, trust and unrest.
Rumour opens the play with an Induction on the rifeness of slander. After hearing one such false report of victory, the rebel Northumberland learns of the death of his son Hotspur, and the defeat of his army at the Battle of Shrewsbury. Morton tells him that the Archbishop of York is taking up the fight against King Henry.
Falstaff is arrested for a debt to Mistress Quickly – but manages to wriggle out of it by promising (again) to marry her. An anxious Prince Hal is distracted from his ailing father’s by Poins’, who persuades him to help spy on Falstaff at dinner by pretending to be waiters. After they reveal themselves, Hal is summoned to court. The king broods on his position as his health deteriorates.
The rebel forces are at Gaultree Forest, led by the Archbishop of York, Mowbray and Hastings. Northumberland, a crucial ally, has opted against joining them and instead has fled to Scotland. Prince John of Lancaster, Hal’s younger brother, leads an army against them, but sends an envoy to suggest a parley. To the rebel leaders’ great surprise, Lancaster agrees to the terms of their peace – but once they have dismissed their army, he turns on them anyway, arresting them for treason. Falstaff, having recruited unfit soldiers, nevertheless manages to capture an enemy.
Henry collapses at the news of the victory. Mistakenly assuming his father dead, Hal tries on the crown at his bedside. Upon waking Henry is furious at this irreverence, but the two are at last reconciled before he dies, and Hal becomes King Henry V. In a heartbreaking moment, Falstaff travels hastily to London to see his old friend (and secure a royal favour or two), but the new king dismisses him with the famous lines: ‘I know thee not, old man. Fall to thy prayers. / How ill white hairs becomes a fool and jester!’ For all his misspent hours with the fat knight, Hal has finally thrown off his youth and embraced the responsibilities of royalty. He will rise to great heights over the course of his reign.
Shakespeare’s riveting, epic drama of a family in crisis, and a country on the brink of civil war. Wracked by illness and tormented by guilt, King Henry IV fears for England’s future after his death. The heir to the throne, Prince Hal, seems intent only on a life of debauchery in the company of the dissolute – but hilarious – Sir John Falstaff. As war looms and the stakes increase, father and son struggle to face their destinies – and each other.
An L.A. Theatre Works full-cast performance featuring: Harry Althaus as Earl Of Westmoreland and Justice Shallow William Brown as King Henry IV Wilson Cain III as Earl Of Northumberland and Bardolph Michael J. Cargill as Thomas, Duke Of Clarence and Peto Tony Dobrowolski as Earl Of Worcester and Chief Justice Lisa A. Dodson as Mistress Quickly & Nurse Shawn Douglass as Prince John and Poins Raul Esparza as Hotspur and Pistol Raymond Fox as Prince Henry Ned Mochel as The Douglas and The Messenger Nicholas Rudall as Sir John Falstaff Doran Schrantz as Humphrey, Duke Of Gloucester & Doll Tearsheet
Featuring: Harry Althaus, William Brown, Wilson Cain III, Michael Cargill, Tony Dobrowolski, Lisa Dodson, Shawn Douglass, Raul Esparza, Raymond Fox, Ned Mochell, Nicholas Rudall, Doran Schrantz
Henry V is the final play in Shakespeare’s second tetralogy. Having shaken off his less savoury companions at the end of Henry IV Part 2, Hal takes his place on the throne following his father’s death, proving himself a pious and sensible ruler, much to the court’s surprise. Following enquiries into his genealogical right to rule over France as well as England, and taunts from the French Dauphin about his youth in the form of tennis balls, Henry resolves to invade France. His old carousing companions, after hearing of the death of Sir John Falstaff, join Henry’s army, their quarrels forming the comic underbelly of the play. Following the English victory at the siege of Harfleur, the two armies prepare to confront one another at Agincourt. On the eve of battle, Henry disguises himself and goes into the camp, discussing with his soldiers the responsibilities of a king. The English win a spectacular victory, and the play ends with the promise of Henry’s marriage to the French Princess Katherine of Valois.
Shakespeare’s contemporary audience would have been familiar with the events at fifteenth-century Agincourt, following the anonymous play The Famous Victories of Henry the Fifth (1594/8). At the time of performance of Shakespeare’s Henry V in 1599, the re-telling of the glorious English victory would have been ironically juxtaposed with contemporary attempts by the Earl of Essex to suppress rebellion in Ireland.
The first Quarto (Q1) was not published until 1600. This ‘Cronicle History’ is only half the length of the text printed in the First Folio of 1623 (F); it has been hypothesised that Q1 was the initial write-up of the play, and F the theatrical text pieced together after performance. We cannot be sure where the play was first performed: many have romanticized ‘this wooden O’ as the Globe theatre, newly built in 1599, but it is possible that it was originally performed at the Curtain theatre in Shoreditch, where Shakespeare’s company, the Lord Chamberlain’s Men, had been performing since 1596.
The critic William Hazlitt commented that the eponymous king is ‘a very amiable monster, a very splendid pageant’. These contradictions are characteristic of responses to the play itself: its treatment of warfare has been the topic of debate for almost as long as it has been in performance. Does the play speak of national pride and English glory, or of ironic disenchantment and authoritarian kingship? The divergence of twentieth-century screen versions has visualised this contrary nature: Laurence Olivier’s 1944 wartime film, intended as a morale boost for Allied troops before the D-Day landings in Normandy, France, creates a halcyon backdrop for ‘we few, we happy few, we band of brothers’, whereas Kenneth Branagh’s 1989 film portrays a starker and less sentimental picture of the potential horrors of war.