When Barbara Gaines founded Chicago Shakespeare Theater in 1986, the first production held on the rooftop of Lincoln Park's Red Lion Pub was Henry V, the story of a young king bound and determined to make his mark by pursuing a claim to the French throne. It's fitting, then, that following Gaines' departure as artistic director recently, her successor, Edward Hall, has selected to start his tenure at the Navy Pier-based theater with that same production, a nod to what was and, in its modernized setting and contemporary staging, what may be to come.
Shakespeare's Henry V is far from one of his most intricate tragedies; there is no undercurrent of betrayal, no treason or adultery. First performed in 1599, the play concerns a prince-turned-king audiences at the Globe Theatre would've recognized from the Bard's earlier Henry IV productions, a rollicking young man cavorting with Falstaff and generally biding his time until his ascent to the throne.
By the time Henry V opens, he is now King and he's been convinced that through an ancestral line here unfurled on a silly scroll of over-sized post-it notes, that he has a legitimate claim to the French throne, and he's willing to fight for it. The rest of the show is the various battles and entanglements he and his men find themselves in on their march to France.
Hall has updated the staging of the play to a modern-day setting, with his ensemble cast (more than half a dozen of them share the duties of the play's chorus, plus several other roles) decked out in fatigues and, while menacingly lingering around the lobby before the show, black balaclavas. That's not the only way the production is immersive, with Hall taking full advantage of the Courtyard Theater's thrust stage, multiple aisles and even balconies to send actors in and out of scenes. Scenic (and costume) designer Michael Pavelka extends the modern wartime vibes to the rafters and aisles, as well, swathed in camouflage-making moss and the like. It's all a bit intense, honestly, and not exactly a welcoming atmosphere to settle into.
In the title role, Hall has cast Elijah Jones, a Juilliard grad making his Chicago debut who makes a strong impression as a King battling for position among his men, against France and eventually with Princess Katherine, who he's slated to marry. Though at times it felt as if he wasn't quite up to the task of filling the stage with a regal presence, he nevertheless delivers a committed performance through the play's more memorable monologues.
Jones is supported by an energetic cast that Hall has break out into song more than Shakespeare likely ever anticipated, from a pre-show "London Calling" to an intermission filled (for some reason?) with a live set of military-themed songs (and a French ditty for good measure). Alejandra Escalante stands out as the Dauphin of France, Henry's foil across the channel and a snobby King-in-waiting, and Scott Aiello as unserious soldier Nym, who'd rather be causing mischief than towing the battle line.
All of these elements are par for the course for Chicago Shakespeare Theater, a company that regularly produces top-notch shows, many of which have moved on to Broadway and Tony Awards (Six, The Notebook and Illinoise most recently). And yet, in Hall's Henry V, these elements don't seem to quite add up to anything transcendent. Impressive, surely. But an unforgettable night at the theater you'll be recommending to friends and recalling years from now? Sadly, no.
And after mulling on it for a few days, I'm still finding it hard to pinpoint exactly why the show as a whole didn't resonate. I keep coming back to the overly militarized setting of it all, the cast in combat boots and wielding billy clubs. In a more classic setting, Henry's daunting battles and rousing speeches might have been more moving; in the contemporary one Hall's chosen, it's far too reminiscent of regional police in riot gear suppressing civilians, and it's all quite off-putting.
Barbara Gaines served as Chicago Shakes' artistic director from 1986 until last year; Hall took over for her in October, and his first season with the company starts with his helming Henry V. He'll return to the director's chair in spring 2025 for Sunny Afternoon, a jukebox musical about the Kinks, and in between, his first season will be populated by productions featuring a wide variety of perspectives and world views. I'm not suggesting by any means that Hall's inaugural season has begun with a whimper, but Henry V does leave plenty of room to wonder what else he may be capable of.
Henry V runs through October 6; tickets and more information are available online. Running time is 2 hours and 45 minutes.
For more information on this and other plays, see theatreinchicago.com.
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