It’s been enjoyable to see the three parts of Henry VI over as many weekends. I’m not sure how easy it would be to see these plays individually or in abridged form – their plot is genuinely complicated, as is the development of their characters and style. Director Steven Hopley sought to provide an intimate and plain setting to ensure focus on acting and language, and this was certainly achieved – it was refreshing to experience what are apparently the first three of Shakespeare’s plays on these terms. Congratulations to actors who have performed two or three of the parts, and also had secondary roles (including Logan Macarthur as Henry VI, Alex Nicholas as Warwick, and Chris Miller). The changing ensembles have shown a remarkable and skilled commitment in bringing these plays to life.
Like Part One, Part Three has a fair amount of historical housekeeping to do, especially at its start and middle, in telling disarray among English nobility due to the age and idealist personality of the King. Queen Margaret speaks at length and with spirited vigour at the start, but is full with information about legitimacy. What emerges is Shakespeare’s remarkable skill at the protracted dramatic dialogue, with wrought and often poetic phrasing. The exchange between Clifford and Rutland is a gift taken up well by Isaac Niven and Ella Morris. York’s retreat before Clifford is likewise poignant, and York’s later monologue facing death was magnificent (Chris Miller). Lana Morgan grows in emotional intent and power over Part Two and Three – she acquits the rise of Queen Margaret with great vigour, at one stage thrusting a sword in direct address to the audience. There are new roles – Mikki Kessler presents a svelte, convincing Prince Edward, Margaret’s son, and also as Elizabeth Woodville later to be Queen of England.
He has lost lands (or given away) lands in France gained by his father, and is unpopular within England. The Wars of the Roses are in full flight, as York tries to displace the King. There are shifts of allegiances, especially by the committed powerful Warwick (Alex Nicholas), secret conspiring by Edward (Max Shaw), and between Warwick and the King of France (Issac Niven) confronting crowd exchanges between the two houses or sides, and a rare (for Shakespeare) battle. There are also some lovely poignant parables, between sons and fathers at war, and the gripping soliloquies towards the end. Richard’s malignant ambition (Renaye Loryman) is sparked by the impulsive betrothal of Edward and Lady Bons (Ella Morris) – Richard’s sinister plans are evoked in grand speeches. Both Margaret and Henry continue in forceful roles – Henry’s lament facing Richard and death in the tower is another rhetorical tour de force (Logan McArhuthur).
The cast seemed proud at their curtain call, as they should be, and the audience, engaged throughout, were fully appreciative. A larger audience would have brought more acclaim. The trilogy deserves a remount, in a theatre, with some historical decor, and lighting. The actors delivered so well, in a show that seems as good as Sydney Shakespeare delivers. Five stars in particular for the overall season.
HENRY VI PART 3 can be seen 25-26 July.
All three parts of Henry VI can be seen 1-2 August 2025.
