By Alisha Hagey and Jason Hagey
At Southern Utah University, the Utah Shakespeare Festival continues their ten-part history saga with The Conclusion of Henry VI: Parts Two and Three. Nestled in the foothills of Cedar City, Utah is staged a magnificent power struggle. It is a game of thrones so ruthless that father denies son and brother turns on brother. Family history is never so deadly as Plantagenet fighting Lancaster. Although one of William Shakespeare‘s earlier works, we are still treated to his trademark intrigue, excellent one-liners, and great characters.
In Part Two, King Henry VI sits precariously on the throne of England. All around him nobility plot and await their turn to take power from the weak king. In the beginning, we see Henry’s new bride, Margaret, already in league to control the king with her lover, Suffolk. The good and loyal Gloucester is removed from office and murdered, his scheming wife is exiled, and all the minor plots and intrigues begin in full force.
Henry, friendless and seemingly unaware of his wife’s manipulation, witness’s rebellion, first by Jack Cade, and then by the stronger claim to the throne: Richard, Duke of York. As the play ends, Richard leads an army against Henry. The War of the Roses is now in full bloom.
In Part Three, York, Warwick, and their forces chase Henry to London and invade the throne-room. York and Henry agree to allow Henry to remain king for the rest of his life, with York as his heir — disinheriting Henry’s son, Prince Edward. This peace does not last as Margaret raises her own army. York breaks his oath and fights again for the crown outright. He is killed but his son, Edward, is proclaimed King Edward IV while Henry is caught and locked in a tower.
Eventually, after more battles, more death, more switching sides and vying for power, Henry is once again installed on the throne. But this is to be short-lived. Henry is soundly defeated, his wife and son are killed, and Richard (son of York, now Duke of Gloucester) kills Henry, putting the crown in the hands of the House of York and establishing peace. Richard ends the play with the ominous opening lines from Richard III: “Now is the winter of our discontent” letting us know that this peace is to be only for a moment as brother will fight brother in the desire for control, tying in nicely for next year’s season.
Following up on his magnificent Henry VI, Part I last year, Henry Woronicz’s direction is brilliant and deceptively simple. There is clarity in the movement and the stage pictures help tell the story. Sometimes theatre in the round can become muddled, but never in this piece. Transitions are thoughtful and props purposeful. There isn’t waste on stage. The texts are masterfully cut so the words trip off the tongues of the actors. There are no superfluous blackouts, no gimmicks. The action comes through the text itself rather than between the dialogue. This production far surpasses the original, giving clarity as we laugh, sorrow, or hold our breath in anticipation through all the political tension.
The design elements of this production are stunning in their cohesion. Lauren Roark (Costume Designer) shines bright. She merges the previous year’s medieval costumes with the movement into the present day without missing a beat. Everything is fluid and cohesive. Her lines give hints into time period without delving too deep into any one moment in history. She captures the idea that we are merely repeating history with these flavors of changes (whether a bodice is added, or a change of boot takes place). Just as seamlessly, Joe Payne (Sound Designer/Original Music Composer) takes us through this transition. We start with the tones of medieval England and move with an adding of bass and then electric guitar and the sounds of helicopters overhead.
Donna Ruzika (Lighting Designer) creates fluidity with lighting changes. A simple stage is transformed by moments of lighting, helping us follow along in the battles and in the constant struggle for the crown. Tim Brown (Scenic Designer) highlights the theatre to its best use, allowing open spaces that aren’t cluttered. He allows the props to speak rather than having so many moving parts of the scenery. Four benches and two chairs serve as the entirety of the stage, allowing our imaginations to fill in the battle scenes, castles, and wide vistas. Paul Dennhardt (Fight Director) has the unique challenge to choreograph fights with swords, knives, guns, and eventually a helicopter (all created with light and sound). Together the designers paint a picture, united under the direction of Woronicz.
This is a true ensemble piece. Most actors play multiple characters within these epic stories. Together the actors band together building up moments rather than individuals. It is a treat to watch Jim Poulos* (Henry VI) throughout the three plays and two seasons. We see his character at his highs and lows and yet all the time he is relatable even if you wish he had the backbone of his wife. This is the mark of someone who has committed to the character. Even with such a weak king, Poulos finds humanity and plays it. Stephanie Lambourn* (Queen Margaret) is the audience’s overt bridge between changing time periods. She is strong, confident, and poised. Sarah Shippobotham (Eleanor/Exeter/Lady Grey) is a pillar. Each of her characters are clear and relatable. She has such a presence. Michael Elich* (Richard, Duke of York/Hastings) is marvelous. His Gamekeeper is a revelation. Such a simple moment and yet it is a pure delight. Emelie O’Hara’s Richard is haunting, even terrifying, and she captures the villain with layered interpretation. James Newcomb* (Warwick) represents humanity in an ever-changing landscape. He plays his character with convincing subtext. In the end, Newcomb’s performance is captivating. These are only a small sampling of the entire cast. Together they are stupendous.
Woronicz and his creative team transform Henry VI into a work that resonates with today’s worldwide political feuding, thus becoming a powerful statement of our modern era. Woronicz’s deft direction and the cast’s commitment to excellence shines bright in this adaptation of Shakespeare. While the Utah Shakespeare Festival this year has some of the greats like Hamlet, Macbeth, and Twelfth Night on the playbill, you will not want to miss The Conclusion of Henry VI: Parts Two and Three. You will be transported to a world that seems immediately dissimilar to our own. Then suddenly, the story is just like everything you see in today’s headlines. The Conclusion of Henry VI is a triumph.
*Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States.
The show runs 4 1/2 hours with a 30-minute intermission.
Utah Shakespeare Festival presents The Conclusion of Henry VI: Parts Two and Three by William Shakespeare.
June 29 – August 31, 2019
Eileen and Allen Anes Studio Theatre, 101-199 W University Blvd, Cedar City, UT 84720
Tickets: $56
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