Utah Shakespeare Festival: “2 Henry IV”

I am at the Utah Shakespeare Festival this week, both for an academic conference and to take in the last season at the Adams Shakespearean Theatre. Construction of a new outdoor playhouse is ongoing across the street to which the dimmers of the Adams will be transferred at the end of the summer. As part of the festival’s agenda to “complete the canon” by staging all of Shakespeare’s works before mounting any restagings, this season features The Taming of the ShrewKing Lear, and 2 Henry IV.

The last five years have seen an unexpected surge in productions of Shakespeare’s Wars of the Roses plays. Aside from the success of the television series, The Hollow Crown, and Jamie Parker’s Olivier win for his portrayal of Hal in all three of Shakespeare’s plays featuring the young prince at London’s Globe, it seems everywhere I land one of these plays are up. (There is a fab interview with both Tom Hiddleston and Parker on the role of Hal from The Independent.) Last summer while doing research in the UK I caught 1 Henry IV and 2 Henry IV at the Royal Shakespeare Company (a sentimental moment since I saw them with my mother, the person who gave me Shakespeare), and this summer at the Utah Shakespeare Festival. They too are doing the whole of the tetralogy, but are spreading it across seasons as they build up to the opening of their new playhouse next summer. Sam Ashdown—a UIUC MFA alum who I reviewed in several productions from 2009 to 2011—is their Hal, having inaugurating the role last summer with 1 Henry IV and concluding it in the flagship production next fall, Henry V.

Hal (Sam Ashdown) confronts his pub mates—and Falstaff (John Ahlin)—for the last time. Photo by Karl Hugh. Copyright Utah Shakespeare Festival 2015.

I must admit I don’t quite understand the buzz for playing the sequence of the plays. As the penultimate play to the series, 2 Henry IV is actually a difficult one to recount. The playboy prodigal heir to the throne has won a major military victory, but is still struggling between his two worlds: that of the London commoners, the people he would rule, and that of his father’s Court. The play is more a series of vignettes, providing a Jonson-esque social panorama of England-between-wars, from the rural (and starving) parsonages to the diseased and economically depressed streets of Cheapside. Hal is in perhaps only half of the play, But it is perhaps this survey of London that was part of the play’s appeal. Another may have been the Queen herself. Two independent sources–althougha hundred years after the fact–suggest that Shakespeare revived Falstaff at the insistence of the Elizabeth I. John Dennis, a literary critic who adapted The Merry Wives of Windsor in 1702, asserted, “I know very well that it hath pleased one of the greatest queens that ever was in the world…This comedy was written at her command, and by her direction, and she was so eager to see it acted that she commanded it to be finished in fourteen days; and was afterwards, as tradition tells us, very well pleased at the representation.” Nicholas Rowe, in his Life of Shakespeare (1709), reports that the Queen “was so well pleased with that admirable character of Falstaff in the two parts of Henry IV that she commanded him to continue it for one play more, and to show him in love.” What does 2 Henry IV hold for audiences now?

Falstaff (John Ahlin) claims a surprise captive from the rebels. Photo by Karl Hugh. Copyright Utah Shakespeare Festival 2015.

Brian Vaughn’s staging stressed both the antique military history of England and the power of rumor in political debate. With the many over-sized battle standards in varying states of destruction dropped across the balcony and wings, the production seemed to be pulling strongly on the aesthetic of Kenneth Branagh’s Henry V (1989) film. Even Ashdown’s physic echoes Branagh in its capable, everyman boyishness. The soldiers are quite clean and they wear their swords easily despite the gruesome battle that has just ended. Typically I like a muddy and bloodstained design here, as not to whitewash the material effects and trauma of battle. Here it seemed to work as it more clearly juxtaposed the elite coterie against the soot-stained citizens of Cheapside. The number of actors employed and the exaggerated set pieces did bring a sense of epic-scale to the production, suggesting that this a crucial turning point in England’s history. With a packed house, one wonders what American (and especially American West) audiences might have invested in the fortunes of medieval English history. Perhaps it is a testament to a growing sense of global interconnected histories? Or our deep-seated step-child associations with the U.K.?

Hal (Sam Ashdown) confronts what he believes is the deathbed of his father, the king (Larry Bull). Photo by Karl Hugh. Copyright Utah Shakespeare Festival 2015.

Another suggestion as to why these Wars of the Roses plays have a great deal of traction currently might be the state of political cultures in the UK and US. The play opens with a fabulously frightening prologue by Rumor played by Larry Bull (who also plays King Henry IV and Kent in King Lear). When we remember that in Richard II, the would-be Henry IV is basically forced by his fellow peers and circumstances to usurp an indecisive, selfish, and ineffectual monarch despite his loyal to the abstraction of the Royal Crown, Larry Bull’s casting as the loyally disloyal Kent seems all the more interesting. Kent resists his king’s orders in order to protect all the monarch seems to stand for. So did Henry IV, but here we get to see the fall-out of that choice, whose guilt and uncertainty would plague and eventually kill him. Rumor and misinformation circulate around the king and incite continued rebellion from tip-to-tail of the play. Perhaps, with the widespread mistrust of the American media (more than 80% of facts cited in the first GOP debate earlier this month were incorrect, according to several independent organizations) and the next fourteen months of a protracted and expensive presidential campaign, the role of rumor in political debate is pervasive in public discourse. Rumor opened this play all in black, to return at the end all in white. Does this suggest a neutral valence to rumor as a function of political discourse? Or has Rumor transformed into the Chorus of Henry V? The play concludes with the opening lines of Henry V“Oh for a muse of fire!” as a clever bit of internal advertising for the next season. It also suggests, simply but provocatively, that memory, narration, and rumor are all faces of the same social force.


  • The Utah Shakespeare Festival‘s production of 2 Henry IV plays at the Adams Shakespeare Theatre 26 June to 5 September 2015.
  • A gallery of photos of the conference, play, and festival space is available here.
  • Check out the production preview below:

Utah Shakespeare Festival: “The Taming of the Shrew”

What masking stuff is this?

I am at the Utah Shakespeare Festival this week, both for an academic conference and to take in the last season at the Adams Shakespearean Theatre. Construction of a new outdoor playhouse is ongoing across the street to which the dimmers of the Adams will be transferred at the end of the summer. As part of the festival’s agenda to “complete the canon” by staging all of Shakespeare’s works before mounting any restagings, this season features The Taming of the Shrew, King Lear, and 2 Henry IV.

USF’s new commedia dell’arte Greenshow on Thursdays.

While the production of Shrew is sumptuous and thoughtful, featuring smart and funny performances all across the ensemble, it is a play I must admit makes me uncomfortable in general. Namely this is because of its tacit approval of violence—to spouses as much as the lower classes. As is the norm in staging this play, the Christopher Sly hunting induction has been cut, and so the onus of the production lies on the presumption that Kate needs and will be reformed. This is despite the fact that we only know she needs reform based on rumors and reports from men interested in her younger sister. That Melinda Pfundstein plays a snarky Kate with a smile suggests that she is surrounded by a great deal of false report. And while certainly Kate isn’t innocent—she chases her sister, and ties her up at one point—it is hard to believe she deserves Petruchio’s “taming” program.

Brian Vaughn’s Burtonesque debonair (not to mention that Pfundstein could easily pass as Elizabeth Taylor) as Petrucio seems to excuse him from a great deal of abuse. We meet him beating his manservant soundly, not only punching him in the face, but kicking him in the nethers, and then slamming into a wall several times. He then takes out a bullwhip of all things to demonstrate his marshal prowess. Similarly in the “meet cute” between Petruchio and Kate there is much struggling, holding, and force applied, as indicated by the text. A clever choice by the production was to juxtapose their private behavior with public behavior. At one point when Petruchio threatens to marry Kate by force (with the embedded threat of rape) and has her roughly held, her fathe can be seen opening and looking out a casement from above. Petruchio’s rhetoric immediately depreciates. There is a moment when Kate and Petruchio sit side by side on the stage discussing the merits of “mother wit,” the thing that makes them attracted to one another, before Petruchio again flips, getting on top of Kate and pinning her down physically and verbally. This is not reserved to Petruchio and Kate, however. Bianca’s behavior alone with her sister and in front of their father is drastically different: she goes from a cloying trickster to a bawling babe the moment he appears. Perhaps it is this deceitful behavior by Bianca that the men most fear but map onto Kate.

The intermission set of USF’s “The Taming of the Shrew.”

Because of the physical violence embedded in the text of the play, it is a difficult one to recover. And yet the sparring of Kate and Petruchio, like Beatrice and Benedict, drives us to desire their union. To resolve this, Vaughn, also an artistic director at the festival, builds in moments that code as “true love” to us: his inabiity to speak when he first sees Kate, suggesting love at first sight, and a number of long pauses and looks of intensity that suggest the two see an inner match to the other. These performance choices work to underscore passages like: “thart all is done in reverant care of her…this is the way to kill a wife with kindness.” Violence and love are problematically rolled and collapsed together. The final betting scene is played as a kind of defense of Kate by Petruchio, when the men tease him for marrying the most shrewish women their is—the shrew. His reply, “I say no,” and proposes a wager that works in tis production to defend her public opinion (and by extension, his), rewriting the gossips narrative by force that she is not a shrew of any kind.

In its sumptuous Italianate decor and expert performances, the production works very hard to recover and venerate the passionate mating of Petruchio and Kate. It almost works, it had me up until her final speech. In the moment that Kate tosses her new cap to the floor upon request and sets out her speech that she is but a wek, feeble, and soft woman whose resistance toher husband poorly repays his manly protection of her, I am lost. This may be a problem of periods: this gesture is as incommensurate to 21st-century feminisms as Ray Rice’s punching of his then fiance now wife Janay in an elevator when he thought no one was looking, and then making her appologize for it at a press conference. This may be a problem of cultures: as a modern American woman, my cultural milieu celebrates the strong, independent, individualized female (to a point, at least). It makes me wonder: Is there a place for Shrew in contemporary theatre culture when it seems impossible to save the play from its own agenda of violent censure of women by men.

  • The Utah Shakespeare Festival‘s production of The Taming of the Shrew plays at the Adams Shakespeare Theatre 25 June to 5 September 2015.
  • A gallery of photos of the conference, play, and festival space is available here.
  • Check out the production preview below: