ART Americanizes Henry IV, With Variable Success

Henry IV Part Two

by William Shakespeare

directed by Ron Daniels

at the American Repertory Theater

through January 1, 1994

"Then you perceive the body of our kingdom/How foul it is, what rank diseases grow,/And with what danger, near the heart of it." The kingdom is sick. Violence, like wildfire, dances across the landscape. People die, choked by ringing hands of greed and indifference. Pain, suffering and death loom. The younger generation threatens to run away, choosing irresponsibility over the conformist greediness of the establishment. The kingdom is indeed sick, and no one seems willing nor able to save it. Sound familiar?

The daunting and cavernous sets of Henry IV, Part Two, designed cleverly by John Conklin and illuminated superbly by Frances Aronson's lighting, look and feel surprisingly like the current American landscape. Although it may not be comforting, nor particularly pleasant, it is both familiar and recognizable. We sense that we are watching ourselves, watching our own world, as it hurtles toward an uncertain fate.

The American Repertory Theatre's production of Henry IV, Part Two--inspired somewhat by Gus Van Sant's "My Own Private Idaho"--paints a timeless landscape for Shakespeare's original play; it collapses then and now with witty juxtapositions of different moments of history. This potpourri of costumes (Gabrielle Berry), props and motifs is no more unusual than performing a play in the late 20th century, which was written in the late 16th and set in the late 14th. And though this odd, albeit very effective, hodge podge of disparate time periods creates a certain ahistoricity, it succeeds remarkably in its depiction of contemporary America.

Much of the music (Bruce Odland) brings this play ominously into the present: during the set changes, a deep bass beat reminiscent of rap and house rhythms pumps through the theatre, bringing to mind those pounding cars which thump through the city streets and disturb the peace of those who prefer their quiet space.

The acting--with a few negligible exceptions--is superb. The heart of this play--Prince Hal (Bill Camp) and Sir John Falstaff (Jeremy Geidt)--beats with perfect rhythm. Mistress Quickly (Remio Airaldi), Doll Tearsheet (Maggie Rush), the Archbishop of York (Herb Downer), and Justice Shallow (William Young) are particularly memorable. Under the direction of Ron Daniels, these characters are shaped pertinently from the text. Not simply characters from Shakespeare, they are characters we interact with daily They are our friends and families; they are ourselves.

I especially urge all seniors to go see this production. As we approach graduation, we face Prince Hal's challenge. Do we take the throne of this diseased kingdom? Do we even want it? And if we do, will we hold tight our childhood dreams, those dreams formerly untainted by considerations of salary, power and self advancement? Or will we slip mindlessly into the grips of the status quo? Can we rise to the occasion of these plagued years? Should we have to?

The A. R. T.'s production of Henry IV, Part 2 raises many important issues. Visually engaging--if not outright beautiful--and intellectually challenging, it presents a vivid, funny and melancholy depiction of a young. person's attempt to grow up. It's a must see for all those who cannot sleep well during these critical times.