Play: Henry IV Part I

I've never seen Henry IV Part I before - or Part II, for that matter. Some of the advertising for this production has it as the greatest of Shakespeare's plays. Well, I do like a good Shakespeare - so I booked. One of the cheapest seats in the house - but a decent one, centre of the front row. Of the gallery, the very top level.

It's been a terrible evening, weatherwise - pouring rain - and if I hadn't booked I wouldn't have ventured out tonight. And it all the way across town as well, in the Barbican! Google Maps gave me two options, basically - District Line to Mansion House and walk, or in the other direction to Edgeware Road and take either the Circle or Hammersmith & City Line from there to Barbican Station. Well, with the weather, I fancied a shorter walk - so the latter was the option I chose.

I really thought I was going to be late. Infuriating delays on the District Line were followed by several lengthy pauses as we made our way on the Circle Line. The driver apologised several times, saying they were trying to match up with the timetable. Or something.. Anyway, we pulled into Barbican Station 10 mins before the performance was due to start. Now, this is the closest station to the Barbican - but it's not quite across the road. Still, all you have to do is cross the road and walk down the covered street ahead - a relief, given that it was still raining. Then cross that street and it's around the corner on your right.

I set a blistering pace, and halved Google's estimate of the walking time. So I arrived with a whole 5 minutes to spare. And o, was I glad I had a Print at Home ticket - and may they issue many more of them! This is a horrendously complicated building, but it turned out that the entrance I needed was the very first one inside the building proper! What a joy not to have to climb down two flights of stairs to the box office, then up again to get back there. Instead, I just showed my printed ticket to the usher, who directed me up a couple of flights of stairs, and to the other usher at the top of them, who directed me to the door. And then I had to squeeze past half of a very long row - there are no aisles in the middle - to get to my seat. And it is a bit of a squeeze!

I keep forgetting the rail that blocks your vision in this row. It's not too bad - you get used to it - but really, they should mark it as a "restricted view" row. And with the dim lighting, it was impossible to see seat numbers - I kept having to ask people. It was a relief to sit down, finally. Seats are comfy, at least, and the legroom is ok - principally because there's enough room to either side to turn your legs slightly.

You can always expect excellence from the RSC, and they didn't disappoint. Right from the start, the staging is magnificent - lighting on the floor reminiscent of the stained glass rose window of a cathedral, and a giant crucifix hanging at the back. Simple and striking. Candles are lowered in glass beakers, and monks appear, also bearing candles, and standing in a circle around the lighted floor. Finally, we see a hooded man, prostrate in the midst of the "reflections" on the floor. This is the king, and this is how we find out he's a religious man.

What unfolds over the next three hours or so (including interval) is worthy of any tale of fantasy. They do say that Game of Thrones is based on mediaeval history - well, they'd lap this up. The king's son and heir, Prince Hal, spends his time drinking, carousing, womanising. The king despairs of him - particularly with his enemies massing against him, including a young man, a ferocious warrior that the king wishes were his - another Henry: "Hotspur", for his hot temper. (Actually, in real life, he was slightly older than the king. But why let the truth get in the way of a good story?)

So, Hotspur allies with his brother-in-law, Mortimer, who's just shown where his allegiance lies by marrying the daughter of the Welsh rebel, Owen Glendower. Mortimer was never really a fan of the king's anyway, as the previous king, Richard, had apparently named him heir, and not the man who now holds the title. (Actually, in real life, his nephew was the heir. But anyway.) Now, as the rebels gain power, the king summons his errant son. Will he step up to defend his birthright?

It's a classic tale, beautifully told, with musical accompaniment of the period. Particularly moving is the scene, apparently in Glendower's court, where the rebels debate their plans. You can tell it's the Welsh court, because a Welsh harp stands beside a chair. And sure enough, before they're done, a lady picks up that harp and strums an air, as Glendower's daughter sings in Welsh. The lighting is low, the room illuminated by open flames, and the effect is spine-tingling - with a crude map of England and Wales on the floor, you feel the reality of this, the last real fight for the independence of Wales.

The most popular character has to be Hal's drinking buddy, the irrepressible Falstaff, brilliantly portrayed. Yes, this is a must-see production if you're into Shakespeare. Both plays run until the 24th, with matinees and evening performances for Part I on different days (except Sunday & Tuesday), and Part II showing in the evenings only, on Tuesdays, Thursdays, and Saturdays. But next Saturday and the following Thursday are sold out. Highly recommended, booking advisable.

On my way back, the rain was even heavier, but at least the Tube was behaving itself. On the District Line, I shared my carriage with a sizeable group of American college students, who had been to the play on what looked like a field trip, and were accompanied by their professor - the only one who seemed to have bought a programme. They all got off at my station - I guess they're staying in a nearby hotel, there are a few - and duly blocked one of the two exit gates when someone got her bag caught in it. To be fair, you have to be quick!

Well, bedtime for me - Helen and I are off to Orfeo at the Roundhouse tomorrow. It's the opening night, and the Royal Opera House, who are collaborating in this production, are sold out - although last I looked, limited tickets were available on the Roundhouse website. Anyhoo, the restaurant at the venue is booked out, so we reserved a table at Nando's, down the road, for before the show.

Wednesday: a gig at the Lexington, near King's Cross. They're running a week-long event - The Line of Best Fit - to showcase up-and-coming acts. Particularly interested in Jagaara.

Thursday: The Magic Hour. A Victorian-style magic show, with spirit messages and everything. I like the look of the venue too - the Grand Royale, a glorious old Victorian hotel near Hyde Park.

After I get back from Ireland, on Monday, I've booked to go to a play in the only theatre within walking distance of me - the Finborough. The play is called Pig Girl, and the theatre is so small that it's always advisable to book.