Henry IV - GRADS Theatre Company

Reviewed by Kate O'Sullivan

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Staging Shakespeare outdoors always presents unique challenges, and the New Fortune Theatre’s production of Henry IV was no exception. Director Patrick Downes embraced the space creatively, using the floor for the alehouse scenes, drawing the action into the audience's realm, and fostering an immediate connection to the action. In contrast, the highborn and authoritative figures were positioned on the raised stage, visually reinforcing their status. This spatial dynamic enriched the storytelling, effectively delineating class and power.

Lighting Designer Fiona Reid crafted a supportive scheme, with good use of colour and spatial delineation, though limitations of the venue’s rig occasionally left players in shadow. Costume Designer Merri Ford’s work was another highlight, blending modern elements with traditional flourishes, and using colour strategically to differentiate factions—black, red, and white adding visual clarity.

Among the performers, Grant Malcolm stood out as a commanding Henry IV, his regal bearing and strong projection making him a formidable presence. His father-son scenes with Fraser Whitely (Prince Hal) were notably engaging, as Whitely convincingly captured Hal’s youthful recklessness and eventual growth. Nic Doig excelled in his dual roles as John of Lancaster and the mischievous Poins, clearly relishing the latter role.

Grace Edwards brought a compelling energy to Hotspur ensuring that the character’s ending feels natural and earned. Meanwhile, Michael Lamont relaxed into Falstaff’s humour and bravado, with strong comedic timing without straying into the excessive, and was well-supported by Joanne Lamont’s lively Mistress Quickly, whose impromptu interaction with the audience on a rainy night was a delightful moment of spontaneity. The supporting cast delivered solid performances, with Jason Dohle’s Douglas being a standout in Act 2. His menacing presence and impressive swordplay added tension and excitement.

However, the production wasn’t without its technical hiccups—music cues sometimes overpowered dialogue, a notable issue given that the actors were performing without microphones in true Shakespearean tradition. While the venue’s open-air nature added a certain authenticity to the performance, it also made some dialogue difficult to follow. Some performers rushed their lines, which, combined with the acoustics, occasionally made comprehension a challenge.

Henry IV is not the most frequently staged of Shakespeare’s works, so it was nice to see both Parts 1 and 2 combined in a single evening. The runtime, approximately three hours, may seem daunting, but for lovers of the Bard, this ambitious and well-costumed production offered much to admire.

Reviewer Note: Kate has previously worked with members of this cast and crew. Tickets for this review were provided by the theatre company.