Other productions

In this section we look at past productions of Henry IV Part I: John Barton, Peter Hall and Clifford Williams’ anti-heroic 1964 production; Terry Hands’ relationship-focused production in 1975; and Trevor Nunn’s 1982 inaugural production at the Barbican Theatre in London.

All productions of Shakespeare have one thing in common: the text. They can differ greatly because each text is open to interpretation and every director and their company makes different interpretative choices in the rehearsal room.

Here we delve into our archive to give you a snapshot of our creative process behind the productions. You can see previously-unseen production records, reviews, production and rehearsal photos to give you an insight of the depth of work that goes on behind the scenes of our productions.

JOHN BARTON, PETER HALL AND CLIFFORD WILLIAMS' 1964 PRODUCTION

Ann Curtis' costume design for Vernon

“All furnished, all in arms
All plumed like estridges” Vernon, Act 4 Scene 1

Here we see the costume design by Ann Curtis for Sir Richard Vernon, who joins with Hotspur and the rebels in opposing Henry IV. Vernon supports Worcester in witholding Henry IV’s offer of a truce from Hotspur. The designer has pencilled on the costume sketch “chain shirts over armour with thick tweed cloaks”. The robust style was echoed in John Bury’s sturdy sets which included steel-plated floors and walls.

Setting the court

John Bury joined the company in 1962 and believed that a production’s design should have a central motif, which the costumes, lighting and sound complemented. Bury’s set designs used steel to emphasize the power and violence of the political struggle at the heart of Shakespeare’s history plays. He highlighted natural materials and rejected the romantic designs of the previous era. The basic set consisted of three revolving ‘houses’ which changed sides for each play in the cycle. In this production photo, we can see how the large angular table focuses our eyes on the simple steps that lead to the throne.

Photo by Tom Holte Theatre Photographic Collection © RSC Browse and license our images

Henry IV Part I programme 1964

The 1964 production of Henry IV Part I at the Royal Shakespeare Theatre was co-directed by three RSC luminaries: John Barton, Peter Hall (Artistic Director 1960-68) and Clifford Williams. The play opened in Stratford-upon-Avon as part of the 400^th anniversary commemoration of William Shakespeare’s birth. This production belonged to a cycle of Shakespeare’s history plays, ‘The Wars of the Roses’, performed by the RSC starting with Richard II and ending with Richard III, which highlighted the political strife of pre-Tudor England. The ensemble included over 80 actors, some of whom like Ian Holm (Prince Hal/Henry V) played the same character in different plays.

Tempter and tempted

“I am as melancholy as a gib cat or a lugged bear”. Falstaff, Act 1 Scene 2

Contrasting starkly with Prince Hal’s austere real father, the King, is Sir John Falstaff, his disreputable surrogate father. Falstaff embodies vice and vanity but he is also affectionate and fun-loving. In this production photo, Prince Hal (Ian Holm, left) teases Falstaff (Hugh Griffith) as he emerges from a haycart in the courtyard of the Boar’s Head tavern. The real Boar’s Head tavern in Eastcheap was built before 1537 and would have been well known by playgoers in Shakespeare’s London. It was destroyed in the Great Fire of 1666 then rebuilt in brick and finally demolished in 1831. John Bury’s set for the interior of the Boar’s Head featured smoke-blackened beams.

Photo by Tom Holte Theatre Photographic Collection © RSC Browse and license our images

Hotspur in the rebel camp

“Hotspur is warm, generous, chivalric, a magnificent wild animal” excerpt from conversations between the play’s directors, reproduced in the programme.

In the First Folio, published in 1623, the play was entitled ‘The First Part of Henry the Fourth, with the Life and death of HENRY Surnamed HOT-SPURRE’ and until the 20^th century, productions tended to focus on Hotspur at the expense of Prince Hal. In the 1964 production, Roy Dotrice played Hotspur as “a kilted, raw-boned Scot, moved by war to sensual ecstasy, and whose cumulative rages suggest the mentality of an amiable psychopath.” Times, 17 April 1964. His death reflected the anti-heroic style of the production as he lunged at Ian Holm’s Hal with a huge sword, laughing aloud, then missed and found his sword stuck in a horse trough, which enabled Hal to stab him in the ribs.

Photo by Tom Holte Theatre Photographic Collection © RSC Browse and license our images

Falstaff holds court in the tavern

“This chair shall be my state, this dagger my sceptre and this cushion my crown’ Falstaff, Act 2 Scene 4

In the 1964 production, it was noted that Ian Holm’s Hal seemed more attached to Falstaff personally than to low life in general. The affectionate father-son relationship of Hal and Falstaff provided a dramatic counterpoint to the frosty relations between Hal and his father, the King. Hugh Griffith’s Falstaff “looked like some gigantic Mephistopheles (a demonic character)” who “sucks up the play like some massive vacuum cleaner” Milton Shulman, Evening Standard, 17 April 1964. A noted Welsh actor, Griffith was brought into the company solely to play Falstaff.

Photo by Tom Holte Theatre Photographic Collection © RSC Browse and license our images

Henry IV's swan badge

“There can be no order if the king is not ordered in himself” excerpt from conversations between the play’s directors, reproduced in the programme.

This image from the 1964 programme shows Henry IV’s badge, known as the Bohun swan from the de Bohun family of Mary de Bohun; Henry IV's first wife. One of the costumes worn by Eric Porter, who played Henry IV, featured the same swan emblem. Ann Curtis’s functional costume designs emphasized Henry IV’s austere style of kingship and his dynastic identity. Eric Porter played Henry IV as a distant and aloof figure, who was emotionally detached from his son, Prince Hal.

Props by scene

This is an extract from the list of properties, or props for short, for the 1964 production. Stage management would have used this pre-show check list to ensure that all the props were in the correct location. The list is broken down into the items needed on the set when the play begins “On at opening”, including the throne that we saw in the previous image, as well as those items to be carried on in subsequent scenes. For each scene, there is a description of the prop, the character/person who needs it, and its position on stage.

Launch Gallery

Terry Hands' 1975 Production

Vice and vanity

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

The director Terry Hands placed the father and son relationship at the heart of his production and in this photo, Hal (Alan Howard) accuses Falstaff of lying about the robbery. Despite the exchange of insults, there seems to be genuine affection in Falstaff’s relationship with Prince Hal. Falstaff embodies animal sensibility, sinful pleasure and self-centred indulgence but he also radiates warmth, whereas Hal’s real father is cold, distant and distainful. The breakdown of domestic relationships echoes the wider political discontent in Henry IV’s realm.

Photo by Reg Wilson © RSC Browse and license our images

Hotspur gets the point

“Send us your prisoners, or you’ll hear of it.” King Henry IV, Act 1 Scene 3

In this production photo, Henry IV, played by Emrys James, demands the prisoners that Hotspur (Stuart Wilson) is withholding. Emrys James’s portrayal of Henry IV as a cunning self-made politician, prone to erratic outbursts, caught the attention of several critics. He was “a father any son would be glad to escape: a snarling, sardonic, guilt-laden autocrat” with a “hyena-like quality” Irving Wardle, Times, 25 April 1975. A lonely figure, his relationship with his son, Prince Hal, was hampered by his inability to express emotions other than aggression.

Photo by Reg Wilson © RSC Browse and license our images

Hacked off?

“My sword hacked like a hand-saw - ecce signum!” Falstaff, Act 2 Scene 4

In this production photo, Brewster Mason as Falstaff is brandishing a sword with notches on the blade edge and recounting a fictional account of how was set upon by numerous robbers who stole his booty. In the previous image of the props list, there is an entry for “2 LARGE FALSTAFF SWORDS, ONE HACKED”. Brewster Mason was a “gargantuan Falstaff, an empty vessel making lecherous, self-indulgent noises to reaasure himself” Ray Seaton, Express and Star, 25 April 1975. He relished “the simple pleasures in life, sack, sex and getting away with things” Listener, 3 July 1975.

Photo by Reg Wilson © RSC Browse and license our images

A thoughtful prince

Terry Hands stressed Hal’s development throughout the three history plays he directed in 1975. Helping to establish continuity between the plays was Alan Howard who played Hal from prince to monarch. The 1975 season opened with Henry V, so Alan Howard had already played the title role before going back in time to become Prince Hal in Henry IV Part I. Alan Howard’s Hal was a witty young prince caught between two diametrically opposed father figures of the King and Falstaff. The production focused on the difficult central relationship which was emphasized by Terry Hands merging of tavern and court, so that the King and his son, Prince Hal, became observers in each others scenes.

Photo by Reg Wilson © RSC Browse and license our images

Henry IV Part I Aldwych Theatre poster 1976

In 1975 Terry Hands directed Henry V, then Henry IV Parts I and II. It was the first time since 1966 that the RSC had performed Henry IV. The productions transferred to the Aldwych Theatre, London, in 1976. Here we see the London poster for Henry IV Part 1 featuring Alan Howard as Prince Hal and Emrys James as Henry IV. The set and costumes for the trilogy of history plays were designed by Farrah, who had a successful creative partnership with the company, especially with Terry Hands, in the 1970s and 1980s. The combination of Alan Howard, Terry Hands and (Abd’Elkader) Farrah in these productions was regarded as a great example of actor, director and designer working together.

Prop weapons

This list of props for the production itemises several weapons. Fighting swords have to be much stronger than costume swords, which are meant to be worn or carried. Before the production opened, there was a problem finding four suitable swords made of sprung steel with an authentic ring for the violent fight between Prince Hal and Hotspur in Act 5 Scene 3. In the end, the RSC borrowed Medieval style German broadswords from the Royal Opera House in London. Many of the weapons seen on-stage today are made in-house by our own Armoury.

Falstaff's red suede costume

“..that huge bombard of sack, that stuffed cloak-bag of guts…” Prince Hal, Act 2 Scene 4

The Associate Artist Abd’Elkader Farrah (1926-2005) was noted for his bold theatre designs. In this production, the costumes complemented his black tilted platform stage which had an enormous stepladder , where Hal and the King eavesdropped. One of the more exuberant costumes belonged to Falstaff and this image shows the red suede jacket and trousers worn by Brewster Mason. This costume, which forms part of our collection, can be seen in the production photos which precede and follow this image.

Director Terry Hands

Terry Hands, pictured above, joined the company in 1966 and was joint Artistic Director with Trevor Nunn in 1978 before becoming sole Artistic Director in 1986.He directed the entire RSC centenary season in 1975 at Stratford-upon-Avon which comprised Henry IV Parts I and II, Henry V and The Merry Wives of Windsor. Critics praised his Henry IV Part I for being a gimmick-free, exciting production, which emphasized human reactions. They also noted his strikingly minimalist staging of the battles, in which opponents wore black leather and gleaming metal as they fought in the mist. The action was enhanced by Farrah’s bare raked stage which resembled “the flight-desk of an aircraft carrier” Michael Billington, Guardian, 25 April 1975, and Stewart Leviton’s atmospheric lighting.

Photo by Reg Wilson © RSC Browse and license our images

Launch Gallery

TREVOR NUNN'S 1982 Production

Opening cues

In this extract from the production’s Prompt Book, we can see the opening cues which include lighting (LXQ), music (MQ) and sound (SQ). The stage manager performed a list of checks before the Barbican Theatre house lights were dimmed and the production begun. An interesting backup scenario is revealed in the instruction “IF TAPE FAILS Q BAND BOX’ meaning that if the recorded music failed, the live musicians would be cued to play. The opening sequence featured a torch-lit crowd singing the Latin hymn ‘Adoramus Te Christe’ (We Adore You Christ), towards the end of which the King (Henry IV) moved to centre stage (CS) before delivering the play’s first line.

Adoramus music score

“It seems then that the tidings of this broil
Brake off our business for the Holy Land.” Henry IV, Act 1 Scene 1

This is an extract from the choir’s score for ‘Adoramus’ which was the musical cue ‘Q2’ in the Prompt Book. The score is divided into three staves for the different singers: soprano and alto; tenor and baritone; bass. The hymn begins with a stately tempo (Maestoso = majestic) and then becomes fairly quiet (mp = mezzo piano). The religious tone reflects Henry IV’s desire to overcome his guilty conscience over Richard II’s death by going on a pilgrimage to Jerusalem. The composer Guy Woolfenden’s expressive music underpinned the production’s scene and mood changes. He had the distinction of composing the music for all the productions of Henry IV Part I featured here in 'Other Productions'

John Napier's galleried set

“A towering timbered maze” Robert Cushman, Observer, 13 June 1982

This production photo features John Napier’s set which consisted of three enormous trucks (platforms on wheels), hydraulically operated, that transformed the stage into London streets or tavern interiors and could be cleared away to provide a large space for battle scenes. The timber set was decorated with a miscellany of wheels, crates, armour and cross-bows. In this image, the galleried set emphasizes the triangular relationship of Prince Hal (Gerard Murphy, stage right), Henry IV (Patrick Stewart, stage left) and Falstaff (Joss Ackland, stage right ground).

Fathers and sons

“Do thou stand for my father” Prince Henry (Hal), Act 2 Scene 4

Trevor Nunn’s production focused on father and son relationships, an example of which is shown in this production photo of the would-be father Falstaff and his pretend son Prince Hal. Making his RSC debut, Joss Ackland played Falstaff as an outwardly genial but calculating individual who knew how to exploit his connection with Hal. Gerard Murphy as Prince Hal considered his character to be “young, emotional, with a love of life and a growing sense of responsibility” Guardian, 4 June 1982. They conveyed physical and emotional attachment to one another.

Dividing the kingdom

“Come, here’s the map: shall we divide our right
According to our threefold order ta’en?” Glendower, Act 3 Scene 1

The ‘Cotton Map’ seen here was reproduced in the programme and dates from the 1530s. It was owned by the antiquarian and collector Robert Cotton (1571-1631) and is thought to be based on the medieval Gough Map. Maps are an important political tool and this is thought to have belonged to Henry VIII who displayed in one of his royal residences. In the play, Henry IV struggles to control his kingdom, while the rebels try to divide it. Hotspur disputes his proposed share with Glendower in Act 3 Scene 1. Interestingly the historic Hotspur was actually older than Henry IV while Prince Hal was only sixteen years old at the Battle of Shewsbury.

Henry IV Part I 1982 programme

“Henry ushers in new venue” Ned Chaillet, Times, 4 June 1982

The company's new London venue, the Barbican Theatre, officially opened on 9 June 1982 with Trevor Nunn’s double-bill of Henry IV Parts I and II. In this striking image of the programme, the City of London resembles the biblical Tower of Babel. Old St Paul’s Cathedral can be seen at the top of the cityscape. The Barbican Theatre was considered very suitable for staging the histories as it measured 73 feet wide, 48 feet deep and 30 feet high. Its fly tower was five storeys up from the stage, which enabled large pieces of set to be stored or lowered on-stage quickly during scene changes.

Director Trevor Nunn

This photo shows Trevor Nunn, who directed Henry IV Parts I and II in 1982. From 1968 to 1986 he was Artistic Director, a role he held jointly with Terry Hands for the last eight years. By 1982, Nunn had directed over 30 productions for the company.Although many critics focused on the new venue of the Barbican Theatre, Nunn’s production was commended for its psychological insight and attention to detail, which was echoed in John Napier’s intricate set design. The production’s tone was also conveyed through Guy Woolfenden’s evocative music.

John Napier's set model

Here we see the model of a section of the set designed by John Napier, who collaborated with the company on many notable productions including ‘The Life and Adventures of Nicholas Nickleby’. The image has been annotated with the abbreviation ‘PS US’ indicating that the position of the structure was Prompt Side (stage left) Up Stage (towards the back of the stage). The set featured timber structures: “cat walks, rusting pulleys, roped hatches which…form an ever-changing module of streets, taverns and palace interior” Irving Wardle, Times, 10 June 1982. In the next image we will see the set in action.

Launch Gallery

JOHN BARTON, PETER HALL AND CLIFFORD WILLIAMS' 1964 PRODUCTION

Ann Curtis' costume design for Vernon

Setting the court

Henry IV Part I programme 1964

Tempter and tempted

Hotspur in the rebel camp

Falstaff holds court in the tavern

Henry IV's swan badge

Props by scene

Terry Hands' 1975 Production

Vice and vanity

Hotspur gets the point

Hacked off?

A thoughtful prince

Henry IV Part I Aldwych Theatre poster 1976

Prop weapons

Falstaff's red suede costume

Director Terry Hands

TREVOR NUNN'S 1982 Production

Opening cues

Adoramus music score

John Napier's galleried set

Fathers and sons

Dividing the kingdom

Henry IV Part I 1982 programme

Director Trevor Nunn

John Napier's set model

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