Crowning glory

IF you haven’t heard the one about the three soldiers - a Scotsman, an Irishman and a Welshman… then shame on you!

The three meet during a lull in hostilities between England and France in the lead up to the legendary Battle of Agincourt and is one of several high-points of humour that provide welcome relief from the inevitable misery of warfare so prevalent in a number of Shakespeare’s plays.

It’s all part of a rousing, rumbustious and richly spellbinding spectacle - almost to the point that the mind could hardly take much more of the Bard at his very best.

Our three military men - Fluellen, a Welsh officer (Joshua Richards), MacMorris, an Irish officer (Andrew Westfield) and Simon Yadoo, as the Scots officer Jamy, are brilliantly bumbling and bewitching together, especially when the latter’s incomprehensible flow of sounds leaves the other two staring at each other in bewilderment.

As the 600th anniversary rapidly approaches of the incredible and, for some, the infamous battle at Agincourt - where a depleted and heavily outnumbered English army triumphed against the French, this is also a triumph for all concerned - especially director Greg Doran whose versatile skills ensure a nice tight flow to the proceedings.

We may have the Scot, and our men from Wales and Ireland, but it’s the King of England, Henry V, who just happens to have been born in Monmouth, Wales, who really matters as he shows he is in touch with the rank and file as he leads this ‘triumph of the common man’.

He is a king who cares - a man with a conscience and compassion who considers all aspects of what he calls on his men to deliver. He even goes undercover amongst his troops to gauge their feelings - their strengths and vulnerability, and leads them in prayer before the battle.

Director Doran has obviously called upon everyone to deliver. The first class cast are all in fine voice with clarity the watchword and Stephen Brimson Lewis does wonders with such a sparse set thanks to atmospheric and creative visions as back-drop projections transport us from palaces and woodlands to moonlit battlefields, and there’s even a snowfall as chilling as Henry’s speech of what might happen to the residents of the besieged Harfleur if they refuse to surrender.

Chisel-jawed Alex Hassell is in top gear from the outset as the young king. His expressive facial features and powerful voice capturing the many moods of the twists and turns in the plot, and a certain sensitivity when, with blood pouring from a head wound, he movingly reads out a list of the fallen at Agincourt - both French and English.

Here is someone who is clearly moving into the top echelons of the acting profession. The two major speeches - “Once more unto the breach’ and ‘We happy few” are powerfully delivered, particularly the former where he appears almost breathless and the audience could reach out and touch the raw emotion.

There are many other fine performances too - Jennifer Kirby’s Katherine, the daughter of the French king, Charles VI; Robert Gilbert, as her brother, the flouncy Dauphin and Sam Marks as the Constable of France and the list could go on. Also worthy of mention though is Oliver Ford Davies, the chorus-cum-narrator bedecked in an old maroon cardigan and rumpled cords, whose scene-setting was both humorous and heart-rending.

It might be slightly churlish to say not everything comes off but by and large this is Shakespeare portrayed at his very best with this truly gripping version and visions of war, and the tragedy of such conflicts.

Later this year it will be moving to London’s Barbican Theatre so there will be a further opportunity to catch this must-not-miss production just as the nation is about to celebrate a special Agincourt anniversary.

This is as finer way as any to celebrate.