By Joe Straw
I took a two-and-a-half-hour ride out of Los Angeles to see musical maven Sophia Joy perform in Henry V by William Shakespeare. Yes, in this version of Henry V beautiful singing envelops the theatre. (Original Music Composition by Michael Wilkins), and there was a lot more to enjoy in this Pacific Conservatory Theatre’s version of a Shakespeare play at Allan Hancock College in Santa Maria, California. - narrator
A work light highlights the center stage, attached by a modern-day electrical cord that runs off stage left keeping onlookers in the present day. The emitted glow separates two chairs, stage right is England with its lion red flag, a majestic chair, and stage left a blue flag with its Fleur-de-lye overhangs the less opulent chair of France.
An innocuous curtain drapes the upstage wall giving the appearance of majestic surroundings. They bear little weight taking a backseat to the instruments of war - swords and spears – that showcases the might of the military ready in purpose for a time to use when that use is near.
And then, the Chorus (Andrew Philpot) takes away the present (the light) and escorts us into the distance past. He describes the empty space soon to be employed by two “mighty monarchies” England and France, use your (the audience) imagination, and set your mind to the events that are about to unfold in the space provided. He says things won’t be perfect, allow for it, but implores that you use the force of your imagination to create the past, but, only in the safety of your own seat, to hear, and then to judge.
No need for a flint rock to start a fire as the church intimately ignites the sparks for war, the Archbishop of Canterbury (Don Stewart) and the Bishop of Ely (Peter Hadres) speak discreetly as they raise concerns about their wealth and possibly about the wealth of their nation. They note that Henry V (Emily Trask), turned king at twenty-seven, has had a change in temperament in his attitude toward France. The Christians souls, seeking power, claiming the power of divinity, that divinity in him is growing, and he is the rightful heir to his great grandfather’s land.
Canterbury hints that Katherine (Molly Dobbs), the youngest daughter of Charles VI, King of France (Michael Gould) and Isabel, Queen of France (Kitty Balay) cannot succeed the throne because of Salic law. Canterbury claims through a litany of justifications that Henry will be the rightful heir to the throne and the land they call France.
England’s prior wars with France was something that had never been easy, a sinister lull now, but regrettably, once again, they are moving in that direction. To act Henry V must take care of the dissension in his ranks, weeds among the roses, Earl of Cambridge (Jason Wells), Lord Scrope (Justin Roslinda) and Sir Thomas Grey (Reid Gregory) are found guilty of treason and sentenced to imposed silence (death). That should do the trick.
And, as the wind of war moves south through the island of England, the French Ambassadors (Annabelle Oglesby, and Andrew Missael Banderas) now visiting are trying to defuse King Henry’s intention but make a mess of the situation offering tennis balls as an insult to Henry V’s juvenile way of life. For their gratuitous impertinence, Henry V suggest the trivial donations will fall as “gun stones” making many widows of their citizens. It is a threat the ambassadors take seriously and don’t look upon kindly. Naytheless, Henry dismisses the French ambassadors with wishes for a safe trip home.
And with purpose and the belief that God is on his side, King Henry V inches toward France.
In plain spoken language The Chorus tells us the young are excited for war. “They sell their pasture to buy the horse,” in their willingness to take France. Word is the French shake in fear on the intelligence that England is ready to invade. Chorus tells us they will take us first to Southampton and then on to France.
Duke of Exeter (Erik Stein) uncle to King Henry V is sent to France to tell The King of France to resign his crown and kingdom and if he does not “bloody constraints” will follow. Alas, Exeter lacks the sensitively required as an honored guest in a foreign country and throws more wood on this dangerous fire than need be.
All in all, the night was terrific and there was a sizeable crowd in this 448-seating capacity theatre. This cast of 46 supported a cast of characters of approximately 52 actors. The actors are teachers (professional actors) and conservatory students (actors learning their craft).
This a truncated version of Henry V, Mark Booher, the director kept the night lively and had his take on the events of the night that includes an original music composition by Michael Wilkins that bookended the night. The march to war seems to be the inevitable conclusion in Booher’s through line without the cautionary tale of dissension and conflict among the rank and file that would provide more conflict in this version. The war scenes by fight director George Walker were realistic and moved the battle through France to victory at Agincourt.
Emily Trask plays a fresh-faced Henry V in this version. There is much to enjoy, and particularly the rousing speeches. There are also some very nice actions in the intimate scenes where Henry doesn’t have to say much but whole heartedly implies his power in quiet fortitude.
Andrew Philpot does justice to Chorus in setting the scene.
Erik Stein and his size gives power and strength as the Duke of Exeter, uncle to the king.
There may be more to add to the character of Pistol played by Peter Hadres and the way he negotiates life, possibly to the extreme to overcome his lack of intelligence or better yet schooling. Still, there is some good work going on here.
Don Stewart is the Archbishop of Canterbury. There may be more to add as a person of religion that moves to fight, or to get his country to fight in his stead so that the church can reap the benefits of a war.
George Walker is Captain Fluellen, a Welsch man, a comic foil, with a vociferous voice and incongruous ideas who seems to make up words as he goes along. This is a character that can be taken to extremes, the farther the better, while fighting for his objective in the most amusing way possible.
Molly Dobbs is captivating as Katherine. Her eye-opening performance was remarkable, and the manner of her character, her voice, and movement were supremely and brilliantly implemented. One rarely comes across an actor that gives so much with so little time on stage. Dobbs is also complemented by Gillian Rains who plays her mistress Alice. Their French was marvelous!
Alexander Pimentel played Michael Williams as an angry man with the exchange of the glove. This role can be played many ways and anger may be one of those ways, but we really must know where lies the origin of his anger. It is an eternal thing and the thing he needs to show us, without telling us. One supposes that he is readying himself for the fight that is to come the following day and all of that that includes thinking about friends and family. Why would he fight? Because he loves! That said, Pimentel exudes strength and dynamic passion in his presence on stage.
Kitty Balay as Isabel Queen of France and Mistress Quickly is superior in both roles. There is a fascination in her manner as Mistress Quicky, the way she communicates, and her physical presence that moves truthfully in every word she speaks. It is dynamic, forceful, and pleasing in every aspect of her craft.
Chiya Newman is very surprising as the Boy, a scrubby, dirty little street urchin that prowls obliquely in a direction with a purpose. It is a define character with unusual traits that lifts the character beyond his mere presence and human miseries. (If those around him had treated him like a king the Boy would have gotten a lot more mileage in this production.) Still, this was a remarkable performance.
The play would not be as successful without the support of the fine players who gave sustenance to the dramatic flow of the play. They are as follows: Rosie Quintana, Jessica Peters, Amanda Adair Russell, Nolan LeMay, Sophia Joy, Griffin Hanson, Hunter Oehlschlaeger, Holland Rolapp, Michael Gould, Sophia Rhiannon Long, Joshua Tiede, Alexis Rosinsky, Joshua Oscar, Ava Lovelace, Lucas Bennett, Lily Cameron,l Joey Orozco, Gideon Feinstein, Andrew Missael Banderas, Nikolas Fawcett, Courtney Ekstrom, Christian McCooey, Annabelle Oglesby, Renee Ortega, Alexander Kasten, Haroute Giragossian, Stella Cricket McSween, Hadley Nelson, Katie Turton and Aeiden Camacho who suffered an injury and did not perform on this night.
Members of the creative team are as follows:
Klara Wilson – Costume Designer
Cody Soper – Lighting Designer
Kevin Dudley – Scenic Designer
Tony Angelini – Sound Designer
Andrew Philpot – Text Coach
Rebekah Carrier – Stage Manager
It takes a village to put on a production as lavish as this and the members of the production crew are as follows:
Klara Wilson – Costume Shop Manager
Tracee Bear – Assistant Costume Shop Manager
Caroline Rein – Assistant Costume Shop Manager
Jacqueline Heimel – Costume Crafts Supervisor
Corbin Vickers – First Hand
Stacey Haslam – Wardrobe Supervisor
Noah Jackson, Sophie Kirby, Jessie Kirkwood, Kara Rosner – Wardrobe Crew
Krys Newbury – Assistant Lighting Designer
Paige Lutkus – Assistant Lead Electrician
Donna Cantu – Light Board Operator
Abby Hogan – Scenic Charge
Lou Forehand – A2 Playback Operator
Tim Hogan – Properties Director
Erin Golden – Assistant Properties Director
Faye Quintero Nuñez, Wednesday Castaneda, Perse Jones – Props
Jacob Woolworth – Technical Director
Mark Fernandez – Scene Shop Supervisor
Daniel Barron Velasquez – Lead Carpenter
Natalie Bordwell, Lex Gonzalez, Ryan Satterfield – Deck Crew
Matt MacPherson – Poster Design
Lunabella Levin, Kahvi Zvalenko, Kiara Plaza, Victor Meneses – Marketing Crew
David George – Assistant Stage Manager
Frankie Jensen, Abi Frugé – Production Assistants
Rosie Quintana – Assistant Music Director
Alexander Pimentel, Molly Dobbs, Nolan LeMay – Assistant Fight Choreographer
Griffin Hanson, Jason Wells – Fight Captains
Michael Tremblay – French Language Coach
To donate to this very worthy educational cause please go to: https://secure.qgiv.com/for/pacconservatheatr/
Or, if you have the resources and have it in your heart to mail a check please send to:
PCPA – Pacific Conservatory Theatre
800 S. College Drive
Santa Maria, CA. 93454-6339