Theatre

Recently, Radio 4 slyly quoted an ancient film in which Edward III rallies his troops at Crécy with the cry ‘Men of the Middle Ages! We are about to start the 100 Years’ War!’ If your medieval history is similarly wobbly, the Roundhouse is coming to the rescue, putting on all eight of Shakespeare’s history plays, from Richard II’s banishment of his ambitious cousin Bolingbroke in 1398 to Henry Tudor’s victory over Richard III at the battle of Bosworth in 1485. A crack ensemble of 34 actors has been gathered; between them they’ll carry 264 roles in their heads as they go into battle flourishing broadswords and spilling vast amounts of blood in pursuit of French territory or the English crown.
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Given that Shakespeare didn’t write the plays chronologically – he started near the end with the three parts of ‘Henry VI’ in roughly 1591 and finished with ‘Henry V’ in 1599 – he probably never anticipated such a marathon staging. But should we believe everything we see? Not exactly. Writing under the Tudors, the playwright had no choice but to look at events from their point of view and present their forebears in the best possible light. The story had to end on a high note with the arrival of the first Tudor king, Henry VII, and Richard III, whom he defeated, had to be the arch-villain. However, to deter anyone from trying to wrest the crown from Elizabeth I, it was important to show the disastrous consequences of deposing any monarch other than Richard III. And of course Shakespeare was a dramatist: political considerations aside, he wasn’t about to let the facts get in the way of a good story. So we decided to play spot the difference...

Richard II (1367-1400)
The highlight of Richard’s rule occurred in 1381, when he faced down the Peasants’ Revolt at the age of just 14. From there it was all downhill. On the plus side, he was an artistic, peace-loving man – not qualities much appreciated at the time. On the downside, he had too many ill-chosen favourites, as well as being politically inept and hugely extravagant. His big mistake was to send his cousin, John of Gaunt’s son Bolingbroke, into exile and to swipe his estates. Even worse, the king went off to fight in Ireland, allowing Bolingbroke to slip back into the country and take the crown.

Shakespeare’s version
The playwright structured events in this most lyrical of his history plays so that we follow the fall of Richard alongside the rise of Bolingbroke. The eloquence of Richard’s queen, Isabella of Valois, is unlikely given that she was only 11 when she was parted from her husband. It is not known for certain how Richard died in prison but it is more likely to have been of starvation than by Exton’s sword.

Memorable Richard IIs
John Gielgud (Old Vic 1929), Fiona Shaw (National Theatre 1995), Kevin Spacey (Old Vic 2005).

John of Gaunt (1340-1399)
John was the third son of Edward III and was hugely powerful before Richard II came of age, but not very popular. One of his palaces was the Savoy in London, which was burned down during the Peasants’ Revolt. He had three wives, the third of whom, Katherine Swynford, he married for love (very unusual at the time). Their four bastard children were legitimised by Richard in 1397 and it was from the eldest of these that the Tudors were descended.

Shakespeare’s version
Ignoring history, Shakespeare turns Gaunt into a great patriot, probably influenced by his Tudor connection. Gaunt in ‘Richard II’ is entirely motivated by England’s welfare. Hence Richard’s horror of being lectured by his uncle and his relief when Gaunt dies.

Memorable Gaunts
Roy Dotrice (RSC 1964), Julian Glover (Old Vic 2005).

Henry IV (1367-1413)
Like most rebels of this time, Bolingbroke, later Henry IV, was very clear when he landed in England that he wasn’t interested in seizing the crown, just in the restitution of his land. But one thing led to another and in October 1399 the new king was crowned, where it was noticed that his head was crawling with lice. Henry made a considerable effort to show that he had more right to the throne than Richard – not that he convinced anyone. His reign was spent quelling rebellions at home rather than fighting the old enemy in France. After the glamour of Richard’s court, Henry’s was sober and dull, especially after he became ill with a disfiguring disease.

Shakespeare’s version
Henry appears in ‘Richard II’ and ‘Henry IV’ Parts 1 & 2. He’s a dour figure, convinced that God will punish him for overthrowing Richard II and full of complaints about his son, the future Henry V.

Memorable Henry IVs
Eric Porter (RSC 1964), Patrick Stewart (RSC 1982).

Henry V (1387-1422)
Much admired at the time, Henry was a ruthless young man who plotted against his father and, once crowned king in 1413, took his country to war with France on the flimsiest of grounds. He was a fine if ruthless commander and he beat the French at Agincourt against all the odds. But it was a pointless venture as it was impossible for his successors to hang on to the territory he had captured. He died in France of dysentery.

Shakespeare’s version
The playwright put such stirring words into Henry’s mouth that he turned him into a great national hero despite Henry’s dubious war against France – and despite the play’s ambivalent attitude to war. When young, Henry is seen haunting the taverns rather than attending to his father at court. This is largely Shakespeare’s fantasy. Once the old king dies, Henry shakes off his old ways – disowning poor Falstaff, who had been his carousing partner and surrogate father – and unites his country in setting sail for France and rallying his men with the most famous battle cry of all: ‘Cry “God for Harry, England and St George!” ’

Memorable Henry Vs
Laurence Olivier (film 1944), Ian Holm (RSC 1965), Adrian Lester (National Theatre 2004).

Henry VI (1421-1471)
Was there ever anyone less suited to wearing the crown than Henry VI? He was timid, pious, stubborn and surrounded by quarrelling councillors. The wars in France proved catastrophic, which made him very unpopular. Then, in 1453, he succumbed to mental illness, probably inherited, which affected him on and off for the rest of his life. Dominated by his wife, he was helpless as the country slipped into chaos around him. He was deposed in 1461, briefly reinstated in 1470 and finally murdered in 1471.

Shakespeare’s version
In the three plays of ‘Henry VI’ the young Shakespeare shows a reckless disregard for history in order to compress such a lengthy war into a trilogy of plays. The first scene of Part 3 starts in 1455 and by line 35 has reached October 1460. Throughout, Shakespeare concentrates on the idea that the House of Lancaster must pay the price for the sin of deposing Richard II from the throne.

Memorable Henry VIs
David Warner (RSC 1964), David Oyelowo (RSC 2001).

Margaret of Anjou (1429-1482)
The role of women at this time was to provide healthy male heirs and opportunities for ambitious barons to double their wealth through marriage, or for a king to form an international alliance. So it says much for Margaret of Anjou that she made such an impact when she arrived from France to marry Henry VI. Realising that her husband was never going to stand up to anyone, Margaret demanded she be entrusted with the government (she was 16 at the time); later, she became hugely ambitious on behalf of her son, Edward of Westminster. She was never popular, especially when she sought help from England’s old enemies, the French and the Scots.

Shakespeare’s version
Shakespeare’s Margaret is a vindictive queen. He describes her going into battles she never took part in and tormenting her old enemy York by rubbing his face with a napkin stained with his son’s blood and mockingly placing a paper crown on his head before stabbing him. No wonder the old termagant’s curses threaten to spoil the party in ‘Richard III’.

Memorable Margarets
Peggy Ashcroft (RSC 1964), Helen Mirren (RSC 1978).

Edward IV (1442-1483)
Edward became king after his father, the Duke of York, was killed. At more than six feet tall, he cut an impressive figure and proved an able soldier. He might have gone down in history as one of the great kings if he hadn’t allowed his loins to rule his brain, especially when he married the less than royal (and unpopular) Elizabeth Woodville just as his ally Warwick was negotiating a more suitable alliance with the help of the King of France. Warwick was understandably incensed and later became his enemy.

Shakespeare’s version
Strangely, Shakespeare and history seem pretty much agreed on this one.

Memorable Edward IVs
Patrick Stewart (RSC 1970), David Suchet (RSC 1981).

Richard III (1452-1485)
Richard, Edward IV’s youngest brother, was a skilful commander and a master of spin. Reports of his physical deformities are said to have been grossly exaggerated and he has some powerful supporters today who declare that he is much maligned and there is nothing to link him with the murder of his nephews, the Princes in the Tower, whose existence barred his way to the crown. Was he any worse than his contemporaries? Possibly not.

Shakespeare’s version
Richard’s supporters blame Shakespeare above all for their hero’s evil reputation. Richard was overthrown by Henry VII, the first Tudor king, who married Edward IV’s daughter Elizabeth, thus uniting the Houses of Lancaster and York and ending 32 years of war. So Shakespeare was honour-bound to create a really monstrous villain. And he succeeded. During the plays, Richard murders Henry VI and his son, seduces the latter’s widow whom he later poisons, has his brother Clarence executed and disposes of the two Princes in the Tower who were supposedly in his care. His evil sense of humour is his only appeal.

Memorable Richard IIIs
Richard Burbage (The Theatre 1592), Laurence Olivier (film 1955), Antony Sher (RSC 1984).

RSC Histories play at the Roundhouse from April 1. Call 0844 482 8008 for tickets.