Hal & Falstaff reworked by Margo MacDonald: a Grungy Carnival of History Not for the Faint of Heart.

Photo by  Justin Van Leeuwen

Charles Marowitz , collaborating with Peter Brook, reduced Shakespeare’s plays to 30 minutes and now Margo MacDonald has reduced Richard II, Henry IV parts 1& 2, and Henry V to two hours and forty-five minutes, including intermission. I`m not suggesting that MacDonald is Peter Brook, far from it but the idea is not new. Still it is an enormous feat of dramaturgy.  Here, she transports us into a punk style hideout of rebels and would be performers. Vanessa Imeson’s costumes, puppets and set design play a central role in this space where history appears to be telescoped forward and backward through time. A graffiti covered portrait of Queen Victoria is stuck up on the walls of what appears to be a backstage area that conveniently becomes a public house, a battle field, the throne room of Henry IV, and various other spaces that house the main events of these four historical plays that MacDonald has collapsed into a single evening as the rough old punks batter the monarchy and take a good swipe at all the institutions of her majesty- Victoria or Elizabeth II. It is not clear but it does not matter.

Prince Hal (Katie Ryerson) sporting a mangy looking dead skunk on his/her head) carouses with his mates at the local tavern along with the huge Sir John Falstaff (Matthew John Landfall), Ned Points (Simon Bradshaw) the tavern wench (Geoff McBride) and other amusing creatures. Hal’s father King Henry IV (Geoff McBride) terribly disappointed with his debauched offspring wishes his son would have been more like Percy (John Doucette) who is stirring up a conspiracy against him in the North, with some disgruntled English Lords and some Scottish lords, namely Glendower (McBride again!) and that hairy creature from the highlands Douglas (played by Melanie Karin).

This play within a play is carried off with clockwork precision, split second timing and wonderful glittering stage energy , speedy costume changes that take the Fool’s style in a new direction of stage chaos that actually works. The danger here is always one of real confusion because there are so many characters, so many little plots, so many developing events that move over so many geographical spaces all at once that it could be difficult to follow, especially since only four actors and various puppets with long exciting faces play all 29 roles (except for Falstaff and Hal). Sorting it all out is not easy at first, unless you have read all four plays recently.

However, each of the actors does everything to make his or her character stand out- whether it is a puppet person or a flesh and blood being. They switch accents, styles, costumes and body language in a heartbeat and each hat, each prop, each distinguishing sign, each personal touch is more grotesque than the preceding one so we can’t possibly mistake who they are.! The visual and vocal choices are excellent and help us distinguish all these venerable thespians that push the humour to its limit, almost creating a new kind of absurd comedy suggesting a carnival of lower body Monty Python imitators, taking us right into the chamber pots of Shakespeare’s time.

MacDonald’s adaptation, her language, a mixture of modern expressions and Shakespeare, and her deep cuts in the play produce a text that focuses specifically on the Scottish conspiracy, the relationship between Hall and and his father, between Falstaff and Hall, and the change in their relationship after the death of Hal’s father. However, she also opened the narrative space to allow her to work out her own playful choreography: the roaring parody with the highly affected Archbishop (Simon Bradshaw) and Lord Hastings (McBride) accused of treason against the English King, the festivities played out when the pub crawlers rob Falstaff, the hijinks of Mistress Nell in the pub by a cross-dressed McBride wearing what looks like Madonna’s exterior underwear ! Lots of playfulness and spots of good physical work that did not seem overdone. It all fit. Ambivalence was also the order of the day as everything was made to appear the opposite of what we thought it was.- such were the touches of directorial delicacies offered by Margo MacDonald. Katie Ryerson did turn Hal into a pretty boy but when seductive Ned (Bradshaw) from the pub starts making a pass at the Prince, we wondered if he was actually eyeing the actress or her character. Sexual ambiguity became a dramatic device that created humour, excitement and more intentional stage chaos.

Actress Katie Ryerson was full of life as the playful Hal but her transformation to Henry V, upon the death of her father, was not totally convincing. She needs to find a more commanding tone of voice, a better defined enunciation. Even with the new haircut and the regal clothes, something was missing. The fact she was a stunning young girl became, at that point, a drawback that she could not overcome. ,

Falstaff (Matthew John Lundvall ) , just as he appeared in The Merry Wives of Windsor, was not quite immersed in his character. He appeared too well spoken, too restrained. That impression did not change in this play. However, the moment he found himself before a lively actor who “spoke “ to him (often a character played by Melanie Karin who held her own beautifully playing a whole range of creatures) , Lundvall seemed to forget himself and let go, sliding from time to time into a more blustering, energetic, perversely authoritarian creature. Nevertheless he always needed prodding. He never seemed to take the initiative, to react in a strong way or fill the stage with his presence and he slid in and out of his character as though it were a tattered coat that didn’t really belong to him. Of course he is physically suited to the role which is why it was such a shame he could not become the characterization that his body suggested so powerfully .

McBride slides in and out of quasi hysterical screaming creatures that liven up the stage. He was the perfect comic relief who also seems to be able to do everything, in spite of the slightly shrill even panic- stricken voice of King Henry IV, that could perhaps be modulated a bit more.

But it was Simon Bradshaw who stole the show. Ottawa has an extraordinarily accomplished comic figure in its midst. He slides into any role and executes it with the utmost skill, the perfect style , with flawless aplomb, ease and great physical prowess. He turns the stage upside down and everyone else disappears. Bradshaw with his inexhaustible energy could have played every single role on his own during the whole evening .

In spite of the evening seeming a bit long especially the last 15 minutes, it is great fun.  if you want to see Shakespeare totally transformed by  strong actors doing their  in your face theatrical antics adapted to a punk inspired stage with corresponding music while you learn about some of Shakespeare’s most interesting historical characters, you just might find this an excellent diversion. Hal & Falstaff continues throughout the city . See times and places below.

Directed by Margo MacDonald and featuring

Simon Bradshaw, John Doucet, Melanie Karin, Matthew John Lundvall, Geoff McBride, Katie Ryerson

Set and Costume Design by  Vanessa Imeson
Lighting Design by Rebecca Miller

Props by Jess Preece.

 

Touring to three different indoor venues!

September 3-8 – The Gladstone Theatre  
September 10-15 – Shenkman Richcraft Studio 
September 17-22 – Centrepointe Studio