Tickets were gifted in return for an honest review
In Shakespeare’s historical epic, King Henry V sheds his Prince Hal persona to embrace the ruthless demands of the throne. What begins as a quest for legitimacy, sparked by a mocking gift from the Dauphin of France, spirals into an invasion fueled by grit and a sense of divine right. Through the mud and blood to the fields of Agincourt, the play asks whether the cost of a holy victory is worth the devastation left in its wake.
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| Alfred Enoch as Henry V. Photo by Johan Persson. |
At the heart of Tamara Harvey's production is Alfred Enoch as the titular King. Enoch delivers a magnetic and nuanced performance, striking a balance between high energy and a more mercurial edge. He inhabits the role with a blend of raw intensity and practiced command. Enoch breathes new life into the famous speeches through a delivery defined by sharp clarity. The St. Crispin’s Day speech is nothing short of electric; a patriotic, powerhouse moment that feels genuinely earned.
Fantastic performances surround Enoch. Natalie Kimmerling shines as Katherine, particularly in the English lesson scene. By reframing the moment in a hospital, the production adds an inventive twist that Kimmerling plays with pitch-perfect restraint. Kimmerling makes the Princess both charming and formidable, ensuring her presence is felt long before the final wooing begins.
Paul Hunter's Pistol threatens to steal the entire show. Wearing tight pantaloons, he meticulously picks his way through the play with an exaggerated walk and a bag of tricks that keep the audience captivated. Whether he is portraying the character’s despicable nature or suffering a humorous beating with a leek, you are constantly drawn in by his performance.
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| Ewan Wardrop (Nym), Paul Hunter (Pistol), Emmanuel Olusanya (Bardolph). Photo by Johan Persson. |
Harvey's re-inventing of the text is done with a keen eye. The production opens with a flashback to Henry IV as the dying King lies on his deathbed. Gone is also the Chorus, with the lines largely given to Henry. This means a more direct conversation with the audience, creating a more human side to the King.
Lucy Osborne’s design starts with the delicate beauty of a child’s history book—all rich reds, blues, and soft pastel drapes. But as the action moves to the front lines, the set sheds its skin. The rear scaffolding turns into the walls of a fortress, and the illustrated world vanishes. Under Ryan Day’s transforming lights, the stage darkens from a colorful dream into the stark, gritty reality of the French campaign.
Impressive are the movement choices by Annie-Lunnette Deakin-Foster and the fight direction by Kate Waters. Repeatedly, characters fall in slow motion, reminding the audience of the human costs of the conflicts taking place. This visual doesn't give an option of who is on whose side. After all, with the costs of war, is there ever really a winner?
Ultimately, this serves as a thoughtful production. The real costs of war are ever timely in our modern days. Enoch and Harvey once again form a superb partnership, offering an evening of theatre packed with powerful acting, clever staging, and action keeping you gripped throughout. An unmissable staging of Shakespeare's great historical play.
⭐⭐⭐⭐
Henry V runs at the RSC's Royal Shakespeare Theatre, where it plays until Saturday 25th April 2026. For tickets and more information, visit https://www.rsc.org.uk/
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| Natalie Kimmerling (Katherine). Photo by Johan Persson. |
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