Shakespeare's histories, Henry IV parts 1 and 2, following the rise and fall of the king, and the succession of his wayward son Prince Hal, are merged in Bell Shakespeare's production, adapted, directed (Damien Ryan) and starring the company's founder John Bell. In the opening scene Stephen Curtis' set design is partially destroyed amidst pole dancing and punk anarchy, as a set of feedback heavy compositions from Kelly Ryall commence.
Think Shakespeare as Guy Ritchie's Snatch; Hal, (Matthew Moore as a compelling brat, more conniving than cunning) and his gadabout gang, led by Falstaff (a genuinely hilarious and utterly mischievous Bell) drink, fight and fart on putrid looking cushions giving little care to the increasing trouble brewing with the Rebels, and how it troubles his father, David Whitney beautifully tense and troubled, who clutches at his kingship on a bold black leather couch.
It's black comedy - sharp-tongued and witted gangsters as royalty, and a more than capable collection of anti-heroes (Wendy Strehlow, Ben Wood, Yalin Ozeculik give great performances).
Ultimately the two most rousing events of the histories, Hal's reformation and Henry's death, are lost amongst the comedy, the momentous occurring simply as moments between laughs, lacking impact. That being said, the laughs are plentiful, both smart and slapstick, and suit the raucous re-imagining (inspired by the 2011 London riots) that Bell presents.
Opera House Drama Theatre to Sunday 26 May.
