Henry V RSC review: Intriguing, intelligent – but lacking intensity

There is the great speech, and there is the scene after the great speech. This intriguing production seems just as interested in the latter as in the former.

Henry V’s great speech begins “Once more unto the breach, dear friends, once more,” and ends “Cry ‘God for Harry, England, and Saint George!’”. The scene after the great speech has three comically shambling soldiers working out what they think about all this. “Would I were in an alehouse in London!,” says one. “I would give all my fame for a pot of ale, and safety.”

Those looking for a stirring, intense, testosterone-fuelled night at the theatre may well be disappointed. The director, Tamara Harvey, has adopted a subtle approach that brings out the play’s ambiguities and nuances. This is at some cost to the drama: there are few moments where the blood really gets pumping. It’s not a production that grabs you by the throat; rather, it leads you by the hand.

Justification for this can certainly be found in the text. If the great speech seems undermined by what comes after it, if its energy dissipates immediately, then we may assume that that’s what Shakespeare intended. The play is obviously highly intelligent and far from simplistic. But there is a sense that this production leans too far in that more cerebral direction, with the audience left thinking rather than feeling. It could be called lithe, supple and elegant; it could also be called bloodless.

Alfred Enoch as the king is perfect for this approach. His Henry V is less a mighty warrior king with vaguely humane principles, more a fundamentally gentle and decent chap with the odd hard edge. Relatively slight of frame and light of voice, he is decidedly non-macho. He is still powerful, but unconventionally so. Again, though, there is some evidence to support this: historical drawings and paintings show a man who appeared far from fearsome, but was clearly great in battle.That famous speech often gets trotted out when England play football; following that line of thought, this Henry V has a touch of the Gareth Southgates about him.

Other performances are perfectly sound. By some way the most characterful is Paul Hunter as the absurd but curiously sympathetic Pistol, described by a fellow soldier as possessing “a killing tongue and a quiet sword”.

The stage is lit mostly in pink and is dominated by a large scaffold, which sometimes moves around. This allows for versatility and occasionally offers spectacle, but can look empty, physically and symbolically. The battle scenes are stylised; they are done with some impressive movement, but are rather lacking in sheer brutality.

Programme notes are often revealing. The historian Dan Jones has contributed a piece that calls Henry V “a rousing, action-packed play”. Daniel Evans and Tamara Harvey, writing as the RSC’s co-artistic directors, say that, “at its heart, it explores leadership and the ramifications of decisions made in the corridors of power from deeply personal and international perspectives”. It is fair to say that one sounds more exciting than the other. A bit more of the former might have been welcome.

Until April 25. Call 01789 331111 or visit rsc.org.uk to book.