Henry V 

Reviewed by Vanessa Cate 
A Noise Within 
Through April 6 

RECOMMENDED 

Henry V’s life’s ambition was to be the king — not just of England (which he achieved when he was 26 in the year 1413), but of France. Henry did not rule long. His reign lasted a decade, and he died when he was only 36 — seven weeks before he would have achieved his goal and become ruler of France. His infant son, Henry VI, inherited the throne instead, and within 30 years of his death everything Henry V had worked for in France would be lost. His ambitious, bold and reckless military and political tactics were the most remarkable thing about this historical figure, who inspired Shakespeare to write a play by the same name.

Shakespeare’s history play is remarkable in that its view of war may be interpreted in any number of ways depending on direction and the social and political context of the era in which it is produced. At times both theatrical and film versions have been labeled propagandistic. But the play could just as easily frame blood spilt over an injured ego. In the program notes, co-directors Julia Rodriguez-Elliot and Geoff Elliot state: “While the play is not explicitly for or against war, it does provide an in-depth look at the politics of war and our thirst for conflict.” Neither for nor against war, this production allows the audience to decide where they themselves stand.

It is appropriate that a play about such an aspiring individual should be similarly ambitious in nature. The directors have envisioned a trim but formidable production, fueled by stark scenic, lighting, and costume design (by Frederica Nascimento, Ken Booth, and Angela Bologh Calin respectively). Such ambition is not without peril, and at times the coliseum-like set and challenges of the direction, in tandem with Shakespeare’s dense script, combine to trip up the actors. Mostly, the ensemble drives through any missteps unfazed, but there are stumbles, and they betray a production that may have been under- rehearsed.

The most baffling choice in this austere production is the strange inconsistency of the accents. Some Englishmen had British accents, some American. Some Frenchmen had French accents, others English. In a production where many roles are double-cast, and in a dense history play written in iambic pentameter, this makes the story sometimes hard to track.

However, when all is said and done, all other elements of the play might succeed or fail but the weight of the work would still rest on the shoulders of the actor playing Henry V. Over the past several years, Rafael Goldstein has become a staple at A Noise Within, appearing regularly in shows throughout the season, and always to their benefit. Though young, Goldstein possesses a composure and gravitas beyond his years. What better choice, then, for the young charismatic king of legend?

Goldstein’s cross-laden Henry V is full of dichotomy: charismatic yet ordinary, privileged yet humble, godly with a God complex, selfish and righteous. Being able to witness Goldstein perform a Shakespearean monologue is a divine pleasure, and the directors know how to frame him well. Elevated and backlit, his rousing call to arms to his battered soldiers recall the company’s 2015 production of Julius Caesar, in which he delivered the famous “Friends, Romans, countrymen…” speech from atop a tall set piece. Elevate this performer, light him, and give him a Shakespearean monologue to recite, and you have a recipe for an enthralling theatrical experience.

Other standouts among the ensemble are the flamboyant Kasey Mahaffy and Cassandra Marie Murphy. Mahaffy, doubling as Nym and Dauphin, adds clarity and a much needed comedic presence to the production. Murphy shines as a solo vocalist, adding a striking and emotional live soundtrack to the battlefield with her impressive voice.

A Noise Within, 3352 East Foothill Blvd., Pasadena 91107; Performance schedule and tickets www.anoisewithin.org; Running time: Two hours with one intermission