Theater Review: ‘King and Country: Shakespeare’s Great Cycle of Kings’

To mark this year’s 400th anniversary of William Shakespeare’s death, Brooklyn Academy of Music is hosting a series of four of his history plays.
Theater Review: ‘King and Country: Shakespeare’s Great Cycle of Kings’
(L–R) Antony Sher as Falstaff and Alex Hassell as Prince Hal in Shakespeare’s “Henry IV Part II,” part of the series of four plays the Royal Shakespeare Company has mounted at the Brooklyn Academy of Music. Richard Termine
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NEW YORK—To mark this year’s 400th anniversary of William Shakespeare’s death, a series of four of his history plays is being presented at Brooklyn Academy of Music (BAM) via Britain’s Royal Shakespeare Company’s “King and Country: Shakespeare’s Great Cycle of Kings.”

Remarkably, much of the series’s contents parallel the present political climate here at home. The tetralogy, known as “The Henriad,” encompasses leadership—both positive and negative: competitiveness, slander, greed, underhandedness. One need only watch the evening news to see these elements played out.

In a performance rich with subtlety, David Tennant is alternately arrogant or sullen.
Diana Barth
Diana Barth
Author
Diana Barth writes for various theatrical publications and for New Millennium. She may be contacted at [email protected]
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