As I stepped into the auditorium of the ADC to preview the recapturing of Shakespeare’s famous history Henry IV Part 1, I was unsure what to expect. Would there be a group of male actors strutting about in Medieval costume quoting famous lines of Shakespeare, or a studious bunch crowded round with scripts? Whatever it was, I certainly didn't expect to walk in upon the fight-scene of Hal and Hotspur as they waved staircase spindles high in the air. Apparently this scene marks the culmination of Hotspur’s and Hal’s fighting, the collision of the two worlds of tavern and court that have been in conflict throughout the play. So, in walking in I have arrived during one of the final scenes – and (wow) if it's anything to go by then the rest of the play has a lot to live up to. 

The assistant director (Ellie Warr) and producer (Beth Oliver) greet me and take me through the ideas behind one of Shakespeare’s well-known histories. “My favourite Shakespeare play by far. It’s got everything you want in it: a battle, a jig at the end, jokes, all the essentials of a classic Shakespeare” enthuses Oliver, as she describes the remembering of the reign of King Henry IV through the combined imagination of Shakespeare and the director (Jamie Armitage), brought to life on stage. As Beth talks me through the details of the conflicting worlds – the loose morals, bawdy puns and physical slap-stick of the tavern scenes – I can’t help but to catch her excitement for the play.

A play dominated by the fluctuation between two binary worlds, the tension is epitomised in the character of Hal as he struggles between influences of Falstaff and his father. In a play of doubles, actors are also forced to adapt to dual roles of contradictory characters in this production. "It's great!” Kyle Turakhia tells me, when I ask him what it’s like to act juxtaposing the roles of ‘fun’ Francis and ‘serious’ Northumberland: “Sometimes it’s easier to do binary characters, you get to do both parts then!”

They certainly have managed to capture the dual essences of the play as I watch Act 2, Scene 2, witnessing Falstaff’s foolery and comic centre amidst the severity of criminal robbery. A later scene combines physical and verbal comedy in the throwing of water and wit. Despite the common perception of Shakespeare’s speech being a barrier to comprehension, the essence of comedy promises to shine through as the characters mime, enact and bring to life the language of Medieval England. Even without costumes and set, they provide “laughter for a month” (2.2).

Yet the recreation of the Globe Theatre as part of the set, and realistic medieval costumes to adorn the acting guarantees to enhance the atmosphere. Not only do the set and costumes promise a treat, but Oliver tells me of the use of armour and the sourcing of authentic broad swords which are yet to be collected from London. The team have really gone all-out in recreating the medieval world of Shakespeare in their production that will be accompanied by a live band, and culminating in a carefully-choreographed classic ‘jig’.

Although I have only seen a snippet of the action, a small insight into Hal’s and Poins's deceptive impersonations and Falstaff’s delightful foolery, this promises to be a fun revival of Shakespeare’s history, in tune with the true medieval spirit of langauge and wit.

Henry IV Part 1 opens this Tuesday at the ADC Theatre. 

Johannes Hjorth's photography of the Dress Rehearsal can be found here and his own photography on his website here.