By Tania Phillips
THE Hollow Crown,
SBS, Sundays, 8.30pm
FOUR hundred years since his death William Shakespeare (or whoever it was that wrote the plays) has become not only popular but maybe even a little sexy again – and productions like this are the reason why.
Some of the best directors and actors in the UK were pressed into service to produce the two series of The Hollow Crown – some of Shakespeare’s most famous history plays from Richard II to Richard III.
The first series of four plays was produced in 2012 as part of the BBC’s contribution to the London Olympics, the second series went out in the UK earlier this year.
So why do these plays again? It would be easy to say why not but that would selling these productions short. The first series was put together under the watchful eye of Sam Mendes (Skyfall and Penny Dreadful) as executive producer) and the second by theatre director Dominic Cooke.
They have put together accessible, televisual versions of the plays. These have more in common with our current love of Game of Thrones and The Tudors then those dry old texts our English teachers made us read.
This is helped by the fact that the series stars some of Britain’s best actors from Dame Judy Dench and Benedict Cumberbatch in Richard III to Ben Wishaw, Sir Patrick Stewart and David Suchet in Richard II and Simon Russell Beale, Julie Walters and Jeremy Irons in Henry IV part one and two. However the standout episode in the series is Henry V.
It’s directed by Thea Sharrock (who caused a sensation with her staging at 24 of Equus in the West End starring Daniel Radcliff). Sharrock created a intimate portrait of a warrior king helped by a stellar and yet understated performance by Tom Hiddleston in the titular role and an impressive cameo by John Hurt.
Sharrock manages to bring Henry V successfully into the loungeroom, humanising the character. While the “band of brothers” has always been seen as a big grand address to the general populace – a call to arms, Sharrock and Hiddleston turn it inwardly with Hiddleston, tears in his eyes, delivering the stirring speech just to his closest commanders in a master stroke that allows the audience to feel like they are eaves dropping on a personal private moment.
It is an emotional moment that underpins an impressive performance and makes the whole play come alive.
– Tania Phillips
