Richard II, and:Henry V (review)

Obviously gearing up for the spring primaries and midterm elections, the Shakespeare Theatre Company launched “The Leadership Repertory,” an ambitious pair of histories, Richard II and Henry V, which presented disparate styles of kingship while spurring the audience to consider two important questions: what qualities compose the best monarch (or president/governor/legislator, as the case may be), and how can leaders maintain a balance between their public and private lives? The political focus was reinforced by a flurry of related events. In addition to the usual forums and post-performance discussions, STC scheduled a theological discussion, a mock trial (“Judgment at Agincourt”) with Justice Ruth Bader Ginsburg presiding, and, a few days before the plays opened, a daylong “Lessons in Leadership” symposium that included not only artists but the British Ambassador to the United States, a pollster, a political scientist, a correspondent, and a psychologist. Anyone still unconvinced of the contemporary relevance of Shakespeare’s history plays need only have glanced at the smiling face of former president Bill Clinton on the cover of Asides, the company’s supplemental publication. In his accompanying essay, Clinton mused that the rulers in these plays were “more in line with my own experiences: the kings had extraordinary power and responsibilities but remained ordinary and fragile, with weaknesses and strengths, a love of position and a longing for normal life” (7). Enough said.

Away from all the folderol, a more impressive coup was taking place on stage: Michael Hayden’s stunning performances in both title roles. The lengthy casts of characters in both plays required frequent doubling, even tripling, of roles, a practice certainly familiar to Shakespeare’s own company. But for a single actor to take on two such taxing lead roles in concurrent productions was an act of courage, skill, confidence, and stamina. This reviewer attended a matinee of Richard II, after which Hayden had fewer than three hours to recover and shift gears for an evening performance as Henry V. Costumes, of course, helped to differentiate the characters: Richard’s locks (almost always crowned) as well as the train of his cream-colored brocade cloak flowed freely, and he sported gold-toned boots and gloves, while the more austere, closely cropped Henry favored neutral tones marked by the occasional dash of...