Guy Ritchie meets Shakespeare in Robert Icke’s impressive adaptation of Shakespeare’s two Henry IV plays at London’s Noël Coward Theatre. Icke’s adaption however is not like one before it, setting the play in an ambiguous time period allows the text to feel natural in a modern day setting. Like a Guy Ritchie movie, Icke’s adaptation has humour and tension in equal measure; shows how happiness and tragedy are codependent and how tables can turn and people can change.

The crass and distasteful manner in which Falstaff is written doesn’t demean the character in any way; Ian McKellen relishes in such a role, allowing the audience to fall in love with the anti-hero. Getting to see McKellen in his element was a dream come true; that did not disappoint. At the young age of 86, McKellen masterfully showcases his polished Shakespearean chops, making the flow of text feel natural. He brilliantly delivers through continuous wheezing, burping and gulps, which could’ve easily been messy and made text incoherent. With McKellen’s extensive history with Shakespeare he never misses a beat. Witnessing McKellen portray Falstaff, who is an overweight alcoholic with so much energy reminds of the quote Justice Shallow (Robin Soans) says “You bear your years very well,” which has never been more true for Sir Ian McKellen.

Toheeb Jimoh’s magnificent portrayal of Prince Hal is enigmatic, seamlessly transitioning from a hotheaded, reckless part-time thief to future King of England. His physicality showcased the burden of his role of future king, becoming hunched over and solemn. This makes me think of the old saying “heavy is the head that wears the crown” and my gosh was it heavy. Turning his back on old friends and renouncing them; his last interaction with McKellen’s Falstaff eerily reflects earlier scenes where they throw insults at each other as if they were in school. In his last moment with Falstaff when Hal shouts “I know you not, old man” this is seemingly the final blow to Falstaff’s withering, frail body because long after their last meeting he passes away even after appearing to be a man with 9 lives.

Lastly, Richard Coyle’s anxiety ridden Henry is a far more stripped back character than his counterparts and more like the original carnation of the role. His regal stature was a stark contrast to the boisterous presence of Falstaff and Hal, bringing a more calming demeanour to his enemies in the North. Coyle beautifully delivers the Shakespearean dialogue with ease, power and diction. His slow decline in health is painful – but whilst on his deathbed Henry’s violent outburst and physical power showed Coyle is all but the equal counterpart to McKellen and Jimoh.

Henry Jenkinson’s spine tingling presence as the figure of ‘Death’ on stage is a must see performance. The lone vocalist tackles well known numbers such as “Jerusalem” and the National anthem deliciously; delivering a strong falsetto which is equally beautiful as it is unnerving. Jenkinson has limited dialogue compared to his other cast mates but his presence demands your attention every time he is on stage. Proving that an actor doesn’t need a big amount of dialogue to give a standout performance.

Icke’s direction and Hildegard Bechtler’s staging complement each other, fusing movement and sets together perfectly; seamlessly flowing throughout the piece. The direction allows the actors to naturally incorporate scene changes into their performances, resulting in smooth transitions from one scene or location to another. Bechtler’s clever idea of using a curtain to divide the stage was simple yet affective. Their ingenious idea of incorporating modern technology via a thin screen allows the audience to be informed of changes of location, years and important facts. This helps the simplistic staging drive the narrative forward. Bechtler’s set became an integral part of play during the final half of Act One. When we’re thrown into the midst of war, Icke’s perfectly choreographed chaos tears through the staging, creating holes into the wall and parts of the set being thrown highlighting the messiness of war and the damages it leaves as a result.

“Player Kings” – is latest in high-profile Shakespeare productions however, this production makes Shakespeare feel new and more human. Catch this masterpiece which is currently playing at the Noël Coward Theatre through June 22, before touring England.

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