Adding together the tower and stairs with the rust colour, plus ladders to the side. 'I was worried that this design was looking too complicated...'
This model shows people flying in the space and a cage flown in at an angle.
Early January 2006: Using the idea of copying the interior of the theatre, Tom creates a back wall which is a copy of the exterior of the theatre - corrugated steel. These designs, including trapdoor, dark floor and ladders, were used in the shows.
This gallery contains photos taken by Tom Piper, designer of Michael Boyd's Histories Cycle (2007). We asked Tom to explain what the images show...
In order to best communicate their ideas to the director, designers build a 1:25 scale model. Here, in early December 2005, Tom uses a model of the Courtyard Theatre to explore some rough ideas for the tower with models made of white card.
'The Histories set would be the first to go into the new Courtyard. The space was still unfinished when I was designing. I assumed that there would be space under the arch, and the actors would play on the thrust stage into the auditorium.'
In this production of Henry V, we meet Katharine as she is lowered from the roof ('flown in') inside a picture frame.
Tom says: 'A framed picture was historically a way of introducing someone. For example, arranged marriages would start by swapping pictures of the people. We flew in a real person in a picture - then they 'came to life' in the next scene.'
Tom used a bridge to create tension between the two ends of the thrust stage.
'The bridge can create a stand-off. Whoever was in the tower has a slight 'king of the castle' advantage.'
Finally, in March 2006, Tom's work on the model was nearing completion.
'This is pretty much the finished set. This design for the tower was inspired by an industrial gas expander. I matched the grill on the tower to the gallery fronts.'
Next, the RSC workshop team would turn this model into a full-sized set.
Tom still had plenty of work to do tweaking and adapting the design as the set was constructed, fitted in the theatre, and then used in preview performances.
Maureen Beatty (Nell Quickly) and Nick Asbury (Pistol) rehearse saying goodbye before Pistol leaves for war.
Geoffrey Streatfeild and Alexia Healy rehearse the final scene where Katherine is presented to Henry by her father the French King (Sandy Neilson).
Anthony Bunsee and John Mackay rehearse on the trapezes.
Rehearsals for the French court - Miles Richardson (Duke of Exeter) is on the ground because he playing an Englishman.
The traitors are arrested. The actors rehearse the arrest and restraint, guided by Terry King, the Fight Director. At the sides of the room are rehearsal costumes and the noticeboard with the 'call-sheets' which list the actors' rehearsal times.
Chris McGill, as the Duke of Northumberland, restrains Anthony Schuster, as Earl of Cambridge, after his arrest for treason against Henry.
Maureen Beatty (Nell Quickly) rehearses saying goodbye to Nym (Keith Dunphy). She wears rehearsal clothes to experience how a floor length skirt changes the way she moves.
Bardolph (Julius D'Silva) stops Nym (Keith Dunphy) from fighting with Pistol.
The Dauphin (John Mackay) relaxes the night before battle. The French court have more colourful and decorative costumes than the English to show they are more flamboyant.
Charles Delabreth (Antony Bunsee) and the Dauphin (John Mackay) as members of the French court occupy the space above the stage.
Henry (Geoffrey Streatfeild) waits for the oncoming charge of the French at Agincourt.
The arrest of the traitors (behind Henry) - Henry V (Geoffrey Streatfeild) passes judgement on their crime as they are dragged to their death.
The English prepare for battle at Agincourt - the actors open the traps and set up ladders to symbolise the stakes the soldiers would have put into the ground to prevent a cavalry charge.
Shakespeare doesn't describe how Henry's army won so the company investigated historical reports which suggest that it was because Henry's archers were superior to the French. To hint at this, Henry (Geoffrey Streatfeild) is shown examining an arrow.
Pistol (Nick Asbury) encounters a French soldier (James Tucker) stranded with an injury during the battle. Pistol realises the solider looks quite wealthy and spots the opportunity to sell the soldier back and make some money.
The battle of Agincourt. The paper streamers were thrown by the actors from all parts of the theatre to symbolise the flight path of the arrows. The streamers remain covering the stage and audience until the end of the show.
Henry (Geoffrey Streatfeild) cradles the Boy (Wela Frasier) as he lies dead. MacMorris (Rob Carroll, far left) is dirty and carrying an axe because he's been tunnelling under the French camp to lay explosives - hence the term 'undermine'!
Henry (Geoffrey Streatfeild) celebrates the victory at Agincourt with Fluellen (Jonathan Slinger).
Having beaten him up, Fluellen (Jonathan Slinger) force-feeds Pistol (Nick Asbury) a leek in revenge for Pistol's racism about the Welsh. This photo was taken in the dress rehearsal - the company decided the blood was too gruesome so it was reduced.
The Queen (Katy Stephens) and King of France (Sandy Neilson) and Katharine (Alexia Healy) wait for Henry. The crown that the King of France wears here is the same used for the coronation of Henry VI in Michael Boyd's production of Henry VI Part 1.
Celebrating the union of France with England after his victory, Henry (Geoffrey Streatfeild) kisses Katharine (Alexia Healy), watched by her servant Alice (Hannah Barrie). The King of France (Sandy Neilson, right) turns away in disgust.