Henry V – RSC, Stratford-Upon-Avon

A major power invading another country on a flimsy pretext. Does that sound familiar? The RSC’s new production of Shakespeare’s Henry V has clear current political resonances. This production by the RSC’s is superb, well directed, excellently acted and inventive. It uses Shakespeare’s text and characters and is mercifully free of the gimmicks which some directors choose to put into the Bard’s great works. It starts with a nod to continuity with the scene of the death of Henry IV from Henry IV Part Two. It then proceeds at ferocious pace, never flagging. It has been intelligently cut by the director, Tamara Harvey, to run for 2 hours 50 minutes including an interval and yet includes all the major events of the original text.

The cast make a superb ensemble. Many playing several parts. They are supplemented by a team of 30 supernumeraries: young people from surrounding schools and colleges who add to the drama of the battle scenes. This gives those young people a tremendous opportunity to act on one of the finest stages in the country and is part of the RSC’s commitment to develop new talent. 

The language is extremely clear and the story easy to follow. Alfred Enoch as Henry is first class.  His youthful appearance combined with an initial naiveté in embarking on his first major military adventure as King gradually gives way to a more serious intent as he feels the responsibility he has as commander-in-chief and the need to pronounce  executions on those in his own ranks who have committed apparent treason, or in the case of his old friend Bardolph from Eastcheap stolen from churches in France.  Other characters that stood out were Paul Hunter as a very comic Pistol and Sion Prichard as Fluellen, the Welsh officer. I also liked Jamie Ballard’s portrayal of the weak King of France who was nicely counterbalanced by the strength of Michael Elcock’s Dauphin.

Point of weakness of in the production, I thought, were the decision to remove the part of Chorus and distribute the lines to other characters, mainly Henry.  The role of Chorus is a distinctive part of this play, and I think having his periodic commentary adds a great deal. I was also not convinced about the decisions of The Director, Movement Director, Annie-Lunnette Deakin Foster and Fight Director Kate Waters to create a “stylised choreographic language” to depict the fight scenes. It resulted in a rather confused, chaotic, although extremely energetic depiction of battles with little depiction of fighting or death.  The costumes were an interesting mixture of historic and modern styles which seemed appropriate to the timelessness of the setting.

The play was set on the RSC’s main thrust stage with an enormous steel scaffolding to the rear which was effectively used for scenes such as the gates of Harfleur and the very realistic hanging of the traitors. But why it had to revolve evaded me.

Nevertheless, this is not to take away from what is an excellent production which would, I think, delight fans of the play and be a good introduction to those who have not seen it before. Its contemporary relevance came back to me at the end when Chorus’s line, delivered by Kate, reminded us that although Henry’s conquest of France had brought peace for a while, it was short lived and “they lost France and made his England bleed”.  Our current political leaders could well heed these words.

Henry V is playing at the Royal Shakespeare in Stratford-upon-Avon until 25th April 2026. Tickets are available from https://www.rsc.org.uk/whats-on/

Reviewer: Paul Ackroyd

Reviewed: 24th March 2026

North West End UK Rating: