HENRY IV Selfie from Maddie K.

Although Henry IV is the title character of the play, I will be primarily focusing on the character of Prince Hal. The maturation of Hal from a boy to a man is evidently seen throughout the play. At the start we see Hal as a young prince who lays around and is always drunk. Our first impression of him is a player who doesn't have a care in the world. Hal does not take it seriously that he is the heir to the throne of England. He is acting like a boy and not the man that he should be representing. This is especially evident in the first scene where he is first in a bed with two women, and then joking around with Falstaff. It is also seen when he and Poins steal the loot from their friends, after they had stolen it from travelers. Not only did they steal the money, but then they taunted their friends about it. Hal starts off as an immature boy but as the play progresses the audience is able to see him grow up.

Thankfully, Hal has a turning point where he starts to mature: when he has a talk with his father. Hal's meeting with the king shows him the danger that is coming to the kingdom. The play shows that in the face of danger Hal becomes a man. He steps up and demands respect and helps his father lead England into battle. The way Hal interacts with Falstaff also changes as he matures; instead of making fun of the man and thinking of him as useless, Hal respects Falstaff enough to put him in charge of a group of soldiers. This decision shows that Hal is still maturing, because it ended up being a bad tactical idea; Falstaff was not a good leader of the regent of soldiers. He squandered the money and got the least strong and powerful people possible for his soldiers. We see Hal take leadership in leading his people before and during the battle. Prince Hal continues to mature and this is seen when he speaks of Hotspur; he talks about his rival with respect that we would not have seen at the beginning of the play.

The play is suggesting that age does not make you a boy or a man. Rather, how you deal with the circumstances that you given determines your maturity. In the face of conflict, Hal becomes a man. Looking at Hal in his first appearance on stage, to his last, he looks like a completely different character. The primary event that seems to change Hal for good is the war that made him become a leader. Men from every era go to war as boys and come back as men. The war that Prince Hal went through forced him to see what the real world was like, and that he  couldn't mess around for his entire life. Before this time in his life, he did not have a cause to worry about, but King Henry IV made sure he knew about the danger to the kingdom. Once Hal was pushed to become a leader, he made a point to be a good one.

The theatre space that was used for Henry IV Part One was a thrust stage. It was interesting because I sat on stage right, so I could see the people directly across from me as I watched the play. Having part of the audience directly in front of me showed me other spectators reactions and how theirs were different or similar to my own thoughts. The thrust stage also made it easier for the actors to be close and interact with the audience, making it easier to become enveloped in the play. The costumes were very authentic and were respectful of the setting of the play. The characters clothing covered their entire body, which was common in the times of Henry IV. The everyday people wore clothing made of cloth and were neutral colors because dye was expensive. In contrast, the nobility wore more sturdy looking attire which were vibrantly decorated with color and detail. Hal's wardrobe changed as his character developed. He started off with loose, light colored clothing to show his uncaring and easy nature. When he matured, he wore darker, harder materials of a soldier. This change in costume expressed Hal's change from a soft boy, to a hard and serious prince.

The scenery changed depending on the setting and level of seriousness of the scene. The constant moving guided the audience, and showed that the play was constantly moving forward. The changing of the scenery made the play easier to follow because it always visual led the audience to know where the characters were. For example, there was a moving platform that was used less for serious settings such as Hal's bedroom and the pub. When the platform came out, it allowed the audience to know that the setting was informal. The lighting was used to show the time of day and seriousness of the matter. The more light, the lighter the matter being discussed. The darker and redder the light, then the more serious and dangerous the conversation was that was being had. If there were many people on the stage, then the lighting would direct the viewer toward who was speaking and who should be viewed. The scenery, costumes, and lighting of the play made the events of the story easy to follow and allowed for the story to truly be developed.

As the story of Henry IV Part One progressed the level of seriousness did too. Hal was a character who's behavior changed throughout the play; his maturation during the story went along with the change in attitude of the play. The scenic design of the stage showed the progression of Hal and of the other events in the play. The scenery, costumes, and lighting all allowed the story to be told in a way that was easy for the audience to follow and set the mood for each scene. Henry IV Part One was a play that showed the maturation of a prince from a boy to a man.

HENRY IV Selfie from Marian P-S

Henry IV, Part 1 is a historical tale filled with mischief, comedy, and battle. King Henry IV and his son, Prince Hal, have a complicated relationship. King Henry IV wants his son to mature, as he is next in line for the throne, but Prince Hal is more interested in causing trouble with his best friends, Poins and Falstaff. Throughout the play, however, Hal evolves. He takes more responsibility for himself and his life at the request of his father. He goes from acting like a child to acting like a man.

As the play begins to unfold, the audience sees Hal’s daily life. He spends his days with thieves and vagabonds leading a very hedonistic lifestyle. This is a source of tension between Hal and his father, King Henry, because his father wants him to act in a way that is more suited for royalty. Namely, he wants Hal to stop playing around and take his role as heir to the throne seriously. Because Hal and his father do not see eye-to-eye, Hal looks towards Falstaff, his friend and perhaps the closest thing he has to a father-like figure. Falstaff is not the best role model, however. He is a thief and expert exaggerator, but he knows how to have fun.  Hal does not have a well-balanced male example in his life. His father wants him to take on too much responsibility. He forgets that Hal is still young. However, Falstaff encourages Hal to take no responsibility. He does not acknowledge that Hal is prince who needs to have some form of accountability. His father is too strict, but Falstaff is too lax.

The thrust stage set up for Henry IV, Part 1 really placed the audience inside the action. There was more intimacy between the actors and the audience, and the audience was able to grow and evolve with the characters, especially Hal. The actors relied on audience involvement for a few of the scenes. This helped the audience believe that we were part of the plot.  When Hal decides to defend Falstaff, he hands the evidence—a chest containing loot—to an audience member. The audience member is hiding the chest in order to help Hal defend Falstaff. Hal gradually gains the audience’s trust by telling us things he tells neither his father nor Falstaff. The audience becomes Hal’s middle ground between his too strict father and his too lax friend. He allows us to see a side of himself that he does not show anyone else, helping us realize his true nature, and allowing us to see just how much he matures throughout the play.

Hal seems to take part in mischief purely for the fun of it, rather than because he wants to stir up real trouble. When Poins suggests that Hal and he go and steal the loot that Falstaff and friends have stolen, Hal joins in simply so he can listen to the wild fabrications that Falstaff is sure to come up with later. Hal knows where his responsibilities lie. He is under no illusion that he will be able to carry on his hedonistic lifestyle throughout his whole life. Rather, Hal seems to be exorcising his wild ways out of his system before he can no longer participate in any of this. At the beginning of the play, he mentions how he plans to suddenly get rid of his immaturity and wild youth in order to become what the people needs. He says this directly to audience, i.e. the people. Hal knows who he needs to convince of his trustworthiness, and he plays it up, speaking sincerely and directly to his people. He believes that his change of heart will impress the people and get them to trust him more easily once he takes the crown. Hal is calculating and smart; he is just not quite mature.

Falstaff and Hal role-play a meeting with Hal’s father in order to get Hal ready. Falstaff plays King Henry and tells Hal that he should never get rid of Falstaff as a friend. Hal interrupts him, saying that his father would never give him that sort of advice, so Hal and Falstaff switch roles.  Hal as King Henry reprimands Falstaff as Hal for hanging around such bad company. Falstaff tries to defend himself but finds that he cannot win an argument against Hal. This scene is very eye-opening in that the audience realizes that Falstaff is afraid of losing Hal as a friend. However, it also gives Hal a chance to prove himself again. He is a loyal friend. When the sheriff interrupts their “court” looking for Falstaff, Hal tells him to hide, and defends him—a truly honorable act.

When King Henry calls on his son to help him calm the rebels who want to overthrow him, Hal jumps into the action. He commits to fighting with his father in order to overthrow their most determined enemy, Hotspur. Hal does just that. He evolves from a tavern dweller into a warrior, a prince ready to lead a kingdom when the time calls for it. Hal steps up the plate whenever his father most needs him and prevails.  

Henry IV, Part 1 is a historical drama, but, truly, it is also a coming of age story of a young prince on his journey to becoming king material. Hal, although seemingly careless and shallow at first, proves himself to be an intelligent, brave man. He does nothing without intention. Hal does not seek praise or fame, but, rather seems to have the best intentions for his father and his father’s kingdom. He proves his heart to be true and righteous in the end. The way the play was set up—including the audience involvement and staging choices—helped the audience really entangle themselves in what was happening. It also gave them a chance to know things that no characters in the play knew. This makes Hal’s transformation all the more significant. Hal’s evolution has a great outcome—he is finally deserving of the title “Prince of Wales.”

HENRY IV Selfie from Kaley B

Home is full of items that provide comfort and calm because of their connection to those we love. Visiting a friend’s home gives you insights about their personality and values that are impossible to recreate through a picture or a written description of where they live. When we arrived in the carefree, cozy hometown of William Shakespeare, I sensed that the sights and sounds of the playwright’s familiar haunts might give new shades of meaning to the playwright’s personal life and perhaps even into his written work. As we found respite under the shady trees near the river of Avon, I was delighted with the thought that Shakespeare might have wandered beneath the same willows to write the finishing touches to one of his plays, such as Henry IV, Part I. This dramatic retelling of the life of one of Britain’s famed monarchs provides a scripted picture of Shakespeare’s view of England as a royal home, a place of comfort, and as a hostile state, and was made infinitely more meaningful because we watched in a theatre built on ground on which Shakespeare himself may have once trod.

Although the play is named after the King, it is his lively son and his son’s foil, Hotspur, who consume most of the stage time. Although both Prince Hal and Hotspur dwell in noble homes that are luxurious and impressive, the bare staging and set of the palace scenes implies the distance or discomfort that the two men experience therein. When Hal comes in contact with his mysterious father, the setting is a dark, ominous throne room that highlights a large crucifix and the crown in Henry’s hand and on his head. Such symbols of authority hold reminders of the responsibility that Hal intends to postpone while he enjoys the pleasure that his power provides. Likewise, Hotspur is not content to lead a peaceful life at home. Although his wife begs him to stay and rest, he finds no contentment unless he is implementing a plan of action. The actor portrayed Hotspur’s restlessness through his tense, quick body movements and his alert eyes. The one moment of the play when Hotspur is at rest, his head lying in his wife’s lap during a Welsh woman’s song, is in the midst of an act of political intrigue as he tries to solicit the Welsh leader to help his cause. Both Hotspur and Hal see their homes as holding unwelcome reminders either of ignored responsibility or neglected familial duties, which the play reflected in the sparse furnishing and dark lighting of scenes set in their respective dwelling places.

However, the play also created images of home-like places in which Hal and Hotspur find contentment and fulfillment. The audience witnesses Hal’s antics outside the palace in the bedroom, at the bar, and on the bare highway. The sets for the scenes outside the palace are full of symbols of life: plush pillows, pitchers and cups, tables and chairs, and lively extras. It is in these rowdy, sensual places that Hal invests his heart and enjoys the devotion of rosy-cheeked Falstaff, a fatherly figure who participates in Hal’s revelry. In fact, Hal and Falstaff joke about the authority of the palace in a memorable mock trial scene in which Falstaff jestingly asks Hal to commit his loyalty to him. The use of household items like a cushion and an armchair on top of a table provide an atmosphere of ease and humor. However, this moment reveals a glimpse of seriousness in Hal. Although Hal finds great enjoyment in his life of pleasure outside the castle, he also realizes that it will not last and ultimately his relationship with his father, rather than Falstaff, will prove binding. Hotspur, on the other hand, is satisfied not in avoiding duty but in completing it. Yet because the political situation of the time forbids him from achieving his goals, he is constantly urging for new courses of action and longing for the battlefield. Hotspur never walks, but bounds; his speeches are forceful and hurried. King Henry IV commends Hotspur’s active attitude and bemoans that his own son is not more prone to such initiative. While Hotspur finds recognition and glory in his place of comfort, Hal realizes that he must either enjoy the pleasures of irresponsibility and suffer under the frown of his father or release his life of leisure and his jovial companions in order to win the respect needed for his position.

Hal chooses to reject his former lifestyle in order to fight for his father and in doing so to face Hotspur in the place where he is most passionate and adept: on the battlefield. But despite Hal’s regret that he can no longer be carefree, he is finally motivated to please his real father, rather than Falstaff, and sees the value of loyalty to his homeland. Hal comes to meet Hotspur not as a man searching for his own place but rather one who has finally accepted where he must belong. While Hal begins the play showing almost all of his bare skin, it is only when he is covered in royal armor that he fully embraces the duties he has been born to bear. Although Hotspur is a fierce and seasoned soldier, Hal meets him in a battle willing to risk his life to save his father, which provides him with a new level of determination that perhaps gives him the upper edge on the battle against Hotspur. The battle scene highlighted the high-spirits of both characters, but showed within a context where the stakes were high and the energy directed toward a specific end. The clashes of the swords, the flashing of the lights, and the energy of the actors made this battle scene the emotional and thematic climax of the play. When Hotspur lies still and dead on the stage while the action continues, Hal exhibits a maturity we have never before seen as he embraces the role of protector rather than a player and acts with a sword, rather than a glass, in his hand.

While there is no way to truly know what personal elements Shakespeare incorporated into his dramatized retelling of the historical Henry IV, it is interesting to ponder the background of the playwright while viewing his work in a place that invariably shaped and influenced the man that he became. Shakespeare portrays home not as a place where you find the most excitement and stimulation, but rather where you find the things that will serve you best as you work alongside those who are near and dear. Although it is hard to give up the excitement of a life where pleasure and action are around every street corner, it is comforting to think that the places filled with familiar faces and personal duties will give the most fulfillment and direction when life’s battles come.

           

           

           

           

HENRY IV Selfie from Elizabeth K.

One, two, three.  Smile for the selfie!  We live in a world that emphasizes self-image.  Whether for public or personal reasons, people care about how others see them.  In the production of Henry IV Part 1, two important characters render different strategies for designing self-image.  King Henry IV (Jasper Britton) hides in life to preserve it; Sir John Falstaff (Antony Sher) parades through life to build it.  Because we live in a “selfie-driven” society, Henry IV Part 1 prompts us to think about our own self-image: how others view us and why we make the choices that we do.

King Henry thinks that self-image needs to be controlled.  After obtaining the crown dishonestly, he has good reason to take care of his personal image and reputation.  The king carries himself with caution, safely guarding his secrets from people.  Even his persona onstage conveys this: handling the crown with shaky hands, shouting at people, making a show of his religion, pondering a corrupt past, and fearing an uncertain future.  King Henry has to play all of the right cards to keep from losing the throne.  Since his plan is to make public appearances sparingly, he carefully controls what the people see, know, and hear.  The king believes this is the key to success, and his self-image is defined by a single rule: secrecy.  

Falstaff, on the other hand, believes that self-image should be flaunted.  He is proud of his less than respectable decisions and enjoys living life as a fat drunk.  Falstaff holds back nothing as the laughing stock of the entire play, pretending to be completely carefree.  However, he has an agenda just like the king.  While King Henry hides his secrets to keep the crown, Falstaff lives brashly on purpose to be remembered.  He cannot be forgotten; he cannot be left in the dust.  Falstaff strives to make the right connections to build up his name, and friendship with Prince Hal (Alex Hassell) is his ticket to a better life.  In fact, there is a tavern scene where Hal and Falstaff tease each other and participate in role-play.  Through his words and actions onstage, we see Falstaff really try to persuade Hal to remain his friend.  Self-image is Falstaff’s tactic for manipulating his way up the ladder.

In this production, staging also contributes to our understanding of King Henry’s and Falstaff’s views on self-image.  King Henry wants to hide his secrets, so the set lights intentionally dim during some of his scenes.  The king is a secretive leader who acts quietly and hides in the shadows.  On the other hand, scenes involving Falstaff are usually bright and very loud.  Many of his main scenes take place in the tavern where he constantly makes a fool of himself.  Falstaff is the physical center of attention, rarely standing on the edge of the stage.  In fact, chairs, lights, and people are usually directed towards him.  These deliberate stage plans contribute to our impressions about their two opposing perspectives.

King Henry and Falstaff spend a lot of energy focusing on self-image like some continue to do our current world.  While there is much that affects self-image, a few pieces distinctive.  Social media profiles carry great weight.  People can spend hours trying to present the perfect Internet image for work, school, dating, family, or friends, regardless of whether it is actually true.  Similarly, the public image King Henry stages in the play is not totally honest.  Another significant piece of self-image is the people we spend time with.  While people are often different from their friends, peers still affect each other.  Falstaff, though not a common person, spends time drinking with people in taverns.  Although they are not on the same level, the tavern people still contribute to Falstaff’s reputation.  Peers are very strong influences.  Finally, personal decisions are an important part of self-image because choices often tell of character.  If a boy chooses to help an elderly person across the street, he is seen as kind.  If a woman tells the truth in a hard situation, she is seen as honest.  If a soldier places his life on the line for others, he is seen as selfless.  King Henry’s and Falstaff’s choices defined their characters; our decisions define us. 

Through characters in Henry IV Part I, we are encouraged to develop our own ideas about self-image.  King Henry’s perspective is very different from that of Falstaff, and our perspectives are likely different from both of theirs.  In my opinion, we should spend some time addressing this to help us figure out who we want to be and who we want to become.  However, I do not believe that it should consume our lives, like it did for King Henry and Falstaff.  Life is about so much more than creating a perfect image.  Young Prince Hal is influenced by these two men, but he eventually chooses his own path and becomes a man of honor who fights battles with dignity.  This personal decision makes Hal a more mature character.  Likewise, it is up to us to decide what we personally believe.  We have to form our own opinions about self-image in our world full of selfies.

HENRY IV Selfie from Megan W.

Seeing this production in Stratford-Upon-Avon made the experience all the more special because it is where Shakespeare was born and died. It is also where he lived throughout the earlier years of his life. The historical significance behind the location of this performance made it an ideal place to see one of Shakespeare’s most famous works. The set presented in the live performance of Shakespeare’s, Henry IV Part 1, at the Royal Shakespeare Theatre made the play a success.

Variations in the set allowed the audience to envision where different aspects of the play took place. The audience is able to get a better understanding about characters in the play by where they are placed within the set. For example, at the beginning of the play, Hal is shown coming out of a bed with two girls with Sir John Falstaff (Antony Sher) in the bedroom as well. The layout of the stage, as well as Hal’s action within it gave off the impression that he was a rebel. The set was an aid in the portrayal of Hal’s character during this part of the play. 

The costumes played a vital role in this production as well. The costumes contributed to the personalities of each character; This proves to be true at the beginning of the play when Prince Hal (Alex Hassell), the son of King Henry IV (Jasper Britton), is portrayed as a person not of royalty by wearing boxers without a shirt. During this scene in Act One he rebels by hanging around with Falstaff, who is a drunk. However, as the play goes on, his character changes, as well as his attire. He transforms himself into the noble and honorable person his his father always dreamed of. By the end of the play, Hal wears military clothing, wins the battle, and ultimately saves his father’s life. The clothing Hal wore made the changes he made to himself more evident.

Lighting is another important aspect of the play, especially during the war scenes. The flashing lights during this part of the production adds intensity that distinguishes it apart from the rest of the play. The war scene is a crucial part of the play because it is the when Hal demonstrates his change in character by saving his father’s life and killing Hotspur (Trever White). The lighting used during the war scenes helped viewers see the importance of the actions that took place during the time. The darkness of the stage during moments of the production also convey something to the audience. The stage is darker in the beginning of the play when Henry IV finds out that Mortimer (Robert Gilbert), one of his noblemen, was defeated and put into prison by the Welsh army. At this point of the play King Henry realizes that his kingdom is on the line. Soon after finding out the news about Mortimer, Hotspur makes him unhappy by telling him he refused to bring the prisoners to him. The anger or worry felt by King Henry during these scenes are amplified by the darkness presented in the set.

The fear of one’s self-image stood out to me throughout the play. Characters worry a lot about what others think of them. Hal wants to prove himself an honorable and noble person as his father wanted. He rebels at the beginning of the play to prove to others that he can straighten himself out and become the grand person his father always wanted. He completely transforms himself to impress others, especially his father. Falstaff wants others to think highly of him as well, even if that means lying in the process. This is revealed right after Hal kills Hotspur; when others come to recover his body, Falstaff re-stabs Hotpur and pulls his sword out just as they arrive. He pretends that he is the one who killed him so other would think highly of him. 

Watching this play opened my eyes to my own worries about my image. I realized how much I worry about what others think of me, just as it is to the characters in the play did. I want others to think highly of me in every situation, even if it means adjusting my personality to fit in. I do so without even noticing at times. I want to uphold the expectations of my parents and teachers, just as Hal wanted to uphold that of his father’s. I will go above and beyond at times to impress others. Similarly, Falstaff lied to make his image look better. This play has taught me that I worry to much about what others think of me. I should be myself and not live by the views of others. I know that ones image is important is some aspects, but it is not when it causes you to lie or not stay true to yourself. I should learn from others and be me in the process. Changing my personality to fit in and impress others is not the way one should live!

HENRY IV Selfie from Sam D.

William Shakespeare’s Henry IV, Part I brings to mind images of honor, glory, and rebellion. Although there are many issues presented in the play that are poignant, the one that stood out the most to me was the maturation of Prince Hal—or the lack thereof, if he was in fact “faking” his misbehavior. Despite the fact that he was only pretending at the start of the play, by the end, his character has seen much development in ways the prince probably was not expecting.

 

When Prince Hal (Alex Hassell) is first seen, he is, in short, extremely immature. His first scene involves him in bed with two women as the comic relief after an extremely serious opening scene. His next scene is not much better; he and his friends scheme to steal a thousand pounds, and then he and his friend plan to swipe it again from their own group for laughs. This definitely doesn’t seem to be the first time he’s done it, though. His fellow thieves seem to know him well, and mentions are made to previous “excursions” of the same kind. He even plans tricks on Sir John Falstaff (Antony Sher) as a joke. It seems as though such a boy isn’t fit to be king any time soon.

Surprisingly, however, he manages his role as prince quite well. During the mock royal court in the tavern, he replaces Falstaff as king because he thought Falstaff wasn’t a good enough actor. Prince Hal’s acting chops, though, are surprisingly good; he plays king just as well as his own father might. When he finally does meet with the king, he knows precisely what to say and

how to say it in order to get his father on his side, and he even stands up and offers to battle Hotspur. In the midst of the battle, he protects his father from Douglas’ attempt at his life, and he does in fact fight Hotspur (Trevor White) and win. In the very last scene, his father even entrusts him with ruling a part of his kingdom. The stage helps solidify this point; the smooth transitions, thrust stage, and vomitories make entrances and exits much more dramatic or subdued when necessary, especially during the battles at the end of the play. Because of this, the audience was able to see the passion and growth (or lack thereof) in each scene. As the show went on, I definitely felt as though whatever change Prince Hal went through was occurring directly in front of me. The actors even involved the audience in many of the scenes, making it as though we were also thieving and fighting the battles with them. At this point, it begins to seem as though Hal has made quite a turn-around, and much for the better.

But when he is out carousing with his friends, Prince Hal tells them that he’s just taking a cue from Machiavelli. He is only pretending to be rambunctious in order so that, when he does become king, he will look even better for having overcome his youth. He argues that his thievery and antics are, in fact, good for the country, because it means he will be that much better of a king. So was there really a “growing up” at all, or was it all an act? And why would anyone in their right mind think that stealing from nuns is “good for the country?”

If the whole thing wasn’t staged, Prince Hal did quite a bit of maturing in a short period of time. In one scene, he’s playing king with his comrades, and in the next, he’s offering to battle the rebellious Hotspur for his father. The possibility that it could all just be an act is a strong one, but it is also possible that this was merely an excuse to get away with everything he did. Perhaps he wanted to steal for the adrenaline rush, or to simply have something fun to do with his friends, and the excuse that it would make him a good king seemed to be the one that would get him in the favor of more people. And it certainly does; the bystanders in the pub seem impressed with his explanation for his actions.

Regardless of whether he had Machiavellian intentions, Prince Hal does eventually experience character development. After slaying Hotspur, his entire demeanor changes. He is no longer a boy playing at kingship and war—he has been thrust into the midst of it. The land he is given to rule requires that he actually does mature, and quickly. Actions speak louder than words, and although Hal has been talking about how he will become a great king, it is not proven until he goes into battle and is given land to rule, which are perhaps the most “kingly” demonstrations of strength, both physical and mental. His real “growing up” is not of his own choice, but of an event that requires growth and change in any individual who experiences it.

Although his rebellious stage may or may not have been an act, by the end of the play, Prince Hal has experienced development and a sense of adulthood that he definitely did not have at the beginning. The experience of killing a fellow man changes him entirely. That, not a decision to change on his own, is what causes his maturation.