Gregory Doran 2014 production

In 2014 Artistic Director Gregory Doran continued his exploration of Shakespeare’s history plays with his production of Henry IV Part I.

The first performance took place on 18 March 2014 at the Royal Shakespeare Theatre in Stratford-upon-Avon before touring the UK. The production was also broadcast live into cinemas worldwide in on 14 May 2014 and streamed into schools.

In January 2016, the production returns to the Barbican Theatre, London, as part of ‘King and Country: Shakespeare's Great Cycle of Kings’, to mark the 400th anniversary of Shakespeare's death.

Falstaff (Antony Sher) jokes with Prince Hal (Alex Hassell) in Henry IV Part I 2014 — Tavern buddies Falstaff (Antony Sher) and Prince Hal (Alex Hassell) in Henry IV Part I, 2014
Photo by Kwame Lestrade © RSC Browse and license our images

Here we give you glimpses behind the scenes of staging a play at the RSC. As well as previously unseen photos of the production in process, you can watch the trailers, and interviews with the director, designer, composer and actors, which give an insight into bringing a production to life.

Henry IV, Part 1

Filming Hotspur's death

“O Harry, thou hast robbed me of my youth!” Hotspur, Act 5 Scene 3

On 14 May 2014 Henry IV Part I was broadcast live from Stratford-upon-Avon to cinemas around the world. This extract from the film-script features the death of Hotspur, who is killed by Prince Hal at the Battle of Shrewsbury. The camera numbers and shot abbreviations are visible in the left margin next to the text. In the First Folio of Shakespeare’s Complete Works (1623), Henry IV Part I is subtitled ‘The Life and death of HENRY Surnamed HOT-SPURRE’, indicating that the character was considered central to the play at that time. In Gregory Doran’s opinion, Hotspur and Prince Hal reflect different views of honour but Hotspur has a fatal flaw – his inability to listen.

Battlefield model box

“How bloodily the sun begins to peer
Above yon busky hill! The day looks pale
At his distemperature.” Henry IV, Act 5 Scene 1

Stephen Brimson Lewis’s versatile set easily transformed from interior to outdoor scenes, as this image of themodel box for the battlefield demonstrates. The rear lath wall seen in the tavern scenes split diagonally to reveal a rising sun, sky and dark foliage, which was reflected on the stage. The uncluttered acting space was ideal for the battle scenes. Tim Mitchell’s evocative lighting effects included a red glowing sky which enhanced the tension and action. In the next image we will see how this model was brought to life in the production.

Talking to the rebels

“I come with gracious offers from the king.” Sir Walter Blunt, Act 4 Scene 3

Shakespeare’s history plays create many challenges for a director, not least because they often require a large cast to be on stage at the same time. Gregory Doran emphasized the open space of the Royal Shakespeare Theatre with diagonal blocking (actor’s position on stage), as we can see in this production photo. Sir Walter Blunt stands centrally at the back of the stage with the rebels positioned on each side. In an effort to avoid bloodshed, Sir Walter urges the rebels to discuss their grievances with the king rather than resort to arms. Hotspur vents his frustrations on Sir Walter but agrees to withdraw briefly to discuss the peace offer with his fellow rebels.

Photo by Kwame Lestrade © RSC Browse and license our images

Pious majesty

“Our holy purpose to Jerusalem” Henry IV, Act 1 Scene 1

Stephen Brimson Lewis’s set, Tim Mitchell’s lighting, the music of Paul Englishby and the direction of Gregory Doran were combined to great effect for the opening scene of Henry IV Part I. Light was focussed on a ‘prie dieu’ (a specially designed piece of furniture for praying) with a crown on it, above which a large gold crucifix was suspended and seven ceiling lamps. The floor was patterned with the reflection of a circular stained glass window. This production image shows Henry IV (Jasper Britton) performing penance for the death of his predecessor Richard II and asserting his intention of going on pilgrimage to Jerusalem.

Photo by Kwame Lestrade © RSC Browse and license our images

Tavern model box

The setting for Gregory Doran’s Henry IV Parts I and II evoked both the medieval and Shakespearean worlds. Many scenes took place in a courtyard type tavern which had an earthy, grubby feel. Here we see an image of the model box for a tavern scene created by the designer, Stephen Brimson Lewis. The connection of the set galleries with balconies in the Royal Shakespeare Theatre deliberately blurred the acting and audience space to heighten reality. The trapdoor, down stage left, became the cellar steps from which the harassed tapster, Francis, emerged in Act 2 Scene 4.

'A huge bombard of sack'

“This sanguine coward, this bed-presser, this horseback-breaker, this huge hill of flesh” Prince Hal, Act 2 Scene 4

In Gregory Doran’s production, Sir John Falstaff was played by RSC Associate Artist Sir Antony Sher, who wrote about the experience in his book ‘Year of the Fat Knight: The Falstaff Diaries’. Sher had to wear a special fat suit which affected the way he sat, got up and moved around the stage. This physical transformation had to be taken into account in Stephen Brimson Lewis’s costume design. In this production photo, Falstaff wears an old battered tan leather coat and a breastplate, specially designed to curve outwards to accommodate his paunch.

Photo by Kwame Lestrade © RSC Browse and license our images

Practising at the bar

“My lord, do you see these meteors? Do you behold these exhalations?” Bardolph, Act 2 Scene 4

Gregory Doran’s 2014 productions of Henry IV Parts I and II toured to Newcastle-upon-Tyne, before visiting Norwich, Salford, Bradford, Bath and Canterbury. In this promotional photo, Alex Hassell (Hal), Joshua Richards (Bardolph) and Paola Dionisotti (Mistress Quickly) have swapped the Boar’s Head tavern for the more contemporary venue of Lady Grey's Pub in Newcastle-upon-Tyne. The down-to-earth costumes designed by Stephen Brimson Lewis contrast humorously with the dress of the modern-day regulars.

Director Gregory Doran

Gregory Doran directed an acclaimed production of Richard II with David Tennant before he tackled the two parts of Henry IV which joined his new production of Henry V for the 'King and Country: Shakespeare's Great Cycle of Kings' at the Barbican. The RSC has a habit of performing Shakespeare’s history plays as a cycle, for example John Barton’s Wars of the Roses in the 1960s and Michael Boyd’s The Histories 2007-8. However, Doran was keen not to be bound by the cycle mentality and was insistent that each play should stand alone.

Launch Gallery

Act 2 Scene 4

Watch a scene from the performance below:

Play video

Henry IV, Part 1

Filming Hotspur's death

Battlefield model box

Talking to the rebels

Pious majesty

Tavern model box

'A huge bombard of sack'

Practising at the bar

Director Gregory Doran

Act 2 Scene 4

You may also like