Beer mug constantly in hand, he swaggers about the stage, doling out insults and winks in equal measures.
But — as expected — the show’s true standout is Michael Winters as Falstaff, Hal’s portly and red-faced second-father figure.
Winters, who many may recognize from the former television series “Gilmore Girls,” gracefully plays the bumbling role.
He makes Falstaff more than the fleshy butt of a parade of fat jokes, and the laughs his performance gets come from respect for the actor rather than derision of the character.
The play’s best moments are in Boar’s-Head Tavern, where the actors can capitalize on the clever banter of Shakespeare’s lines.
But a weak spot lies in the play’s combat scenes. Though punctuated with the appropriate grunts and bellows, the brawls are less than convincing.
As a whole, the play is nuanced and particular. Shakespeare’s detailed character portraits are successfully executed, and they foster emotional investment in the show’s dramatized history.
‘Henry V’
If the strength of “Henry IV” is in the specifics, the strength of “Henry V” is in the spectacular.
The production is characterized by chilling battle cries and invigorating speeches, and impressive effects like onstage rain augment the show’s grandness.
Fagan demonstrates his range in his portrayal of King Henry V, notably — and appropriately — different from his performance as Prince Hal.
He does justice to the play’s famed St. Crispin’s Day speech, and the fierce passion of his monologues makes it easy to forget he has sent his subjects into war just because he wants some land from France.
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As Katherine, Henry’s eventual wife and the daughter of the French monarch, Kelsey Didion is delightful — and bilingual.
One of the show’s most memorable scenes features her sitting in a bathtub, learning English in a sequence that slowly builds to her riotous drop of the C-word.
The few moments like these — comic breaks from constant battling, chanting and speech-making — give the show dimension.
The production gathers its momentum from the preceding “Henry IV,” barreling through a war and into a peace treaty.
But despite the surface happiness of the characters, an ominous end-note complements historical hindsight in letting the audience know that all is not well.
It is paradoxes like these that keep the audience engrossed throughout the show — and that’s all we can ask for.
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