Stratford Observer Review
TREAD the Boards theatre company are currently performing ‘Henry V’ in repertory with ‘The Tempest’ at their Attic Theatre home in Cox’s Yard Stratford upon Avon, just a stone’s throw across the bridge from their illustrious neighbour, the RSC.
Directed by the huge talent that is John Robert Partridge, this production reaches an audience of all ages – a completely accessible, sumptuous piece of theatre, superbly played by a high energy company.
Henry V is Shakespeare’s most famous ‘war’ play concerning the adventures of novice Prince Hal after taking over the crown from his dead father. There is intrigue and skullduggery galore leading up to the famous battle of Agincourt. That’s the one where the young King calls upon his vastly outnumbered troops to fight the French with his ‘Cry God for Harry, England and Saint George!’ rallying call.
George Ormerod is quite extraordinary as Henry – there are times when you can literally read his thoughts. His soft, rich voice convinces utterly, I’d fight for him! It is a performance to savour from an actor worth following.
In addition to directing, Partridge also plays quite a catalogue of roles from Chorus, our story narrator plus Fluellen, a cynical Welsh soldier, the plotting Cambridge plus the weary King of France. Each characterisation performed to absolute perfection with a glorious tugging of our emotions from a master of the craft.
Jasmine Arden-Brown engages as the French Princess Katherine and the scenes between her and her maid Alice (played by Emmerline Braefield) when she learning English are delightfully funny.
The rest of the talented cast work tirelessly in role doubling – and trebling -which involves constant costume changes from a simply stunning wardrobe.
Designers Adam Clarke and Hattie Human have dressed the acting space in glorious swathes of flags and pennants with a centrepiece throne of wood to rival the infamous one of swords.
Kat Murray’s soundscape matches the mood from menace to triumph with perfect battle sounds – her lighting design is equally effective.
The pace of the production is perfect with lots of humour along with full on steel-on-steel fighting to passionate speeches which suck you right in. The intimacy of The Attic acting space makes for a unique and immersive audience experience.
This Henry V from the finest fringe company I know is a triumph in every way – it’s an Easter treat for all the family – and a word to the wise, I noticed kids get to eat for a pound in the riverside pub downstairs.
Forget Harry Potter – feast your eyes and ears and go into the breach, dear friends, with Historical Harry.
Henry V runs at Attic Theatre, Cox’s Yard, Stratford, runs until next Sunday, April 27.Click here for times, tickets and more information,
*****
Review by Euan Rose
BUM ON A SEAT REVIEWS
HENRY V
The Attic Theatre, Stratford upon Avon, Friday 11th April 2025
Playing in rep with The Tempest, is Tread The Boards’ new production of Shakespeare’s exciting history play, directed by John-Robert Partridge.
In the title role, George Ormerod convinces utterly, giving a star turn that wouldn’t be out of place on the RSC stage over the road. He commands the stage as well as the country. His mastery of the text is marvellous and those famous speeches (the one about going unto the breach, the one about we happy few…) rise to such rousing crescendos I almost jump up from my seat and join in with the battles. Ormerod is flawless here and we can appreciate fully Shakespeare’s aptitude for rhetoric.
Also an absolute pleasure to hear is John-Robert Partridge appearing as the Prologue at various points and also as other characters. It is a nice stylish touch to have him don his costumes in front of us, adding to the storytelling idea. From the Archbishop of Canterbury to the King of France via Welsh soldier Fluellen, Partridge impresses with his range and presence.
In fact, just about everyone doubles or trebles roles – a great opportunity to display their versatility for this particularly strong company. There is Hamish Macaulay as Nym, the Dauphin, and Williams, Macaulay has no trouble making himself heard and understood whatever accents he adopts. A charismatic presence. There is Matt Rousseau as an English and a French Duke, and Captain Macmorris. Rousseau is a fine supporting actor, listening and reacting to the speeches of others, which helps our understanding of events (these characters can be a bit wordy!).
Much of the show’s humour comes from the French-speaking scenes, like when Katherine is trying to learn the English words for parts of the body. Shakespeare’s bawdy humour brings welcome relief to all the bombast and rabble-rousing of other scenes. As Katherine, Jasmine Arden-Brown is a delight and she is ably supported by Emmeline Braefield as Alice the maid.
Rob Keeves shoots his mouth off as Pistol, while John Kerr’s Bardolph, though portrayed well, lacks the character’s famous red nose. He won’t be guiding any sleighs. I suppose this is due to the quick wardrobe changes but the jibes at Bardolph’s appearance make little sense without his scarlet hooter.
Emily Tietz plays male roles without masc-ing up – is there anything she cannot do? Nic Rainford is also strong as the traitor Lord Scroop, but her herald Montjoy could do with being more assertive.
The intimacy of the space makes all the running around and slapping of blades together all the more immediate and exciting. The action is augmented by lighting and sound effects, courtesy of Kat Murray. The set, by Adam Clarke and Hattie Human, is festooned with flags and pennants of the period, but it is really the costumes that take us back to the Middle Ages.
This is accessible, gimmick-free Shakespeare, performed by a top-notch cast and directed by a steady hand.
Once more unto the Attic!
☆ ☆ ☆ ☆
Elementary What's On Review
The starting premise of Henry V is that Chorus invites us to imagine that within the walls of the theatre we are at the court of King Henry and thence to France and Agincourt. It is a tribute to Tread the Boards (TTB) that their production does just that, creating not just the battle scenes for which the play is often remembered, but also the powerful speeches and the emotional interactions between the characters.
Director John-Robert Partridge played several parts, starting with Chorus, who appeared several times speaking to the fourth wall, journeying with us, encouraging, cajoling and beseeching us to have patience as the story evolved. John-Robert gave the part exactly the right tone at each point.
George Ormerod was extraordinary as Henry. He had the most dialogue by far, which he delivered with assurance, commanding the stage with speeches of gravitas, anger at the French when they killed the boys in the baggage train, and gentleness when trying to woo Princess Katherine (Jasmine Arden-Brown), daughter of the French king. Their clumsy attempts to communicate in Franglaise were particularly amusing.
With the exception of George, all the actors played several parts – nobility, servants and soldiers. Hamish Macauley was both Nim, a rough-and-ready soldier, and the conceited Dauphin, whilst Nic Rainford had expressions of wide-eyed fear and alarm in her roles.
Another of John-Robert’s notable roles was as Llewelyn, a Welsh captain, which he played to humorous perfection, reminiscent of Nigel Green, the colour sergeant in the film Zulu. The scenes with Llewelyn, Irish Captain Macmorris (Matt Rousseau) and Scottish Captain Jamy (John Kerr) were hilarious, marvellously played just enough over-the-top to be laugh-out-loud funny but not lose the humour by over exaggerating.
As we now expect from TTB, the costuming was outstanding. The stage was bare apart from a small dais on which sometimes sat the throne, and medieval music played in the breaks. Inevitably the battle scenes are one test of a good Henry V, and TTB excelled. Several members of the cast have experience and training as fight coordinators and this was clear as broad swords and daggers flashed – there is a curious thrill of sitting on the front row of a TTB production at The Attic when there is sword play!
The lighting and noise of cannon fire arranged by Kat Murray enhanced the tension at the right moments. There were other distant sounds of battle and sound effects which enhanced the play.
Once again TTB delivered a top-drawer performance. Any student or school that is or will be studying Henry V in the near future would without doubt benefit from seeing this production.
