Player Kings, Noël Coward Theatre Review

Player Kings. Ian McKellen (Falstaff) and cast. Photo by Manuel Harlan.

Reviewed by Kirsty for Theatre and Tonic.

*Disclaimer: Gifted tickets in return for an honest review

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When an actor such as Sir Ian McKellen takes on one of the most iconic Shakespeare characters, there is no doubt that the expectations will be high for a polished and interesting production.

With Robert Icke’s new production, Player Kings this is exactly what audiences receive. The play which has been adapted from Shakespeare’s Henry the Fourth parts one and two tells the story of young Prince Hal, who ends the story as King Henry the Fifth, his relationship with his father King Henry the Fourth and his journey from tempestuous young Prince to monarch. We also see his relationship with John Falstaff go from confidante to banishment which serves to show that the people you choose to party with may not be the individuals you wish to take with you into adulthood.

Sir Ian McKellen commands the stage as Falstaff, he plays the blustering and debauched man as both incredibly likeable and thoroughly grotesque in equal measure. Undoubtedly the character is one of the most iconic and well known characters from Shakespeare. McKellen has been given room to play all facets of the character, from the blustering stories filled with lies with perfect effortless comedy, to seeing a man disowned by Henry V, a man he treated as a son. To watch someone like McKellen play the role was nothing short of an honour and with Icke’s clever staging and adaptation of the Shakespeare plays there is no doubt that McKellen's performance could become one of the most iconic portrayals of Sir John Falstaff. 

Icke has brought the story right up to the modern day, with Richard Coyle’s King Henry IV taking on the air of a 21st century monarch and we see him coming to terms with the reality of being Monarch rather than just Henry Bolingbroke. Coyle’s stage presence is undeniable and the closing scenes with his sons and advisors were a high spot in the production.

Toheeb Jimoh shone as Hal, the journey we see him going through from the party prince to King Henry V is mesmerising. Jimoh undoubtedly commanded the stage throughout especially in Act I where we see him in the heart of the Eastcheap gang and his scenes with McKellen were particularly enjoyable. Jimoh’s acting talent shone through in the closing scenes where we see Henry V’s regal strength come to the fore. Jimoh is definitely an actor to watch for the future, and he has an incredibly bright future ahead of him.

Clare Perkins as Mistress Quickly was a highlight for me, her comedic timing was perfect, and I loved every time she was on the stage. However whilst Quickly is mainly a more comedic character, during the closing scenes with McKellen you could see that Quickly loved Falstaff for all his imperfections, and this was wholly due to Perkins and her acting.

Samuel Edward-Cook was a revelation as Hotspur, the man who believes that Henry is not the rightful King. The dual staging of Northumberland and Westminster was particularly powerful. The fight and vitriol that Hotspur shows in the battle scenes was palpable, and at times I was hoping that history would be rewritten and Hotspur would be victorious. Tafline Steen as Lady Percy was a standout performance for me, the scenes between her and Hotspur were beautiful and heartbreaking, however, she played Lady Percy as the strong woman she would have needed to be. Steen’s performance as Tearsheet in Act 2 was equally powerful and the two roles allowed Steen to shine on stage throughout the play.

However, the strength of the piece was the exceptional ensemble of actors many of whom played multiple roles effortlessly. James Garnon and Nigel Lister were particular standouts for me, however there were truly no weak links in the show and the company of actors working seamlessly together.

Hildegard Bechtler’s set design was sleek and clever; and I found the use of layers of curtains as a way of changing scenes unusual but not unwelcome as it meant that most set changes were unseen. The set pieces were minimal yet incredibly effective, and at no point did a scene change take us out of the story. Bechtler’s costume design was also perfect for how Icke had set the piece, the juxtaposition between the more modern dress of the Eastcheap players, and the formal settings of Westminster and Northumberland reminded the audience that three strands were being wound together to complete the story.

Player Kings was definitely an unusual and different adaptation of some of Shakespeare’s less often performed plays, however, I think this worked in Icke’s favour as it allowed him to bring the story to life in a new and different way. Even if you think you don’t like watching Shakespeare, I would urge people to set that aside and give this production a go as it is one of the most powerful pieces of theatre I have seen in a while.

At Noel Coward until 22 Jun before continuing UK tour. 
★ ★ ★ ★ ★