The West End Theatre Review: Player Kings

By Ross

I read that the first published book written about a Shakespearian character was focused not on the legendary Macbeth or Hamlet, but on the “dodgy, obese, cash-strapped, dissolute, self-interested” Falstaff, a larger-than-life antihero and cultural phenomenon, this time dutifully played in the new West End revival rich and tragic by McKellen (The Other Palace’s Frank and Percy; West End’s Ian McKellen on Stage).

His Falstaff is utterly dynamic and fascinating from the get-go, drawing us in with his grotesque drunkenness in a stained shirt. It’s flawless and funny, especially so as the character’s humor is delivered dry and philosophically portioned out for great effect, giving this slick modern-dressed production a thrilling brave heart and a solid foundation.

It’s a handsome, strongly staged production, not exactly centered around Ian McKellen’s great performance as one devilishly sharp Falstaff, but having that dynamic character involved lifts up the whole thing making the joined-together Player Kings a carnivalesque joy to witness. It’s a role he seemed destined to play, but unfortunately, he had a nasty fall from the stage in mid-June, forcing him to not only drop out of the play in the West End, but also from the tour that was created all around him playing this part. It’s a devastatingly sad turn but luckily for us, we were able to see him before his accident. And I’m hoping he will be back on his stage feet quickly so we all have the opportunity to take in his expert renderings for years to come.

Yet Player Kings, when I saw it in early June, had McKellen in full true form, creating this delivery as expertly as one could hope for. Surrounded by talent on all sides, the curtain is quickly pulled back in those first few moments, and all kinds of partying chaos flies forward in abundance. A bare-bottomed rendering destined to be king sends just the right energy into the air and we can’t help but lean into this expertly crafted production of the two Henry IV history plays combined into one, adapted and directed with strength and clarity by Robert Icke (Almeida/Park Avenue Armory’s The Doctor).

On a detailed, multidimensional set, incorporated with great intent by set and costume designer Hildegard Bechtler (Old Vic’s Mood Music), with sharply hewed slices of light by Lee Curran (Donmar’s Next to Normal) and a solid sound design by Gareth Fry (Donmar’s Macbeth), the brick and curtained crew of revelers and hang-abouts make playful use of the arena given. The cast is cleverly created for this sometimes complicated history concoction, a dual engagement that I have only seen once before, to a somewhat lesser effect. But with Toheeb Jimoh (“Ted Lasso“) as Prince Harry (or Hal) staggering about in his skivvies ready and willing to expose his true nature before us all, this Player Kings is destined to be remembered. And not only for McKellen giving it his all in a dream part.

But Hal’s difficult journey forward into the adulting royal circle, standing true and solidly performed, is just one of many contextual arrangements created with flair around the centripetal force that is Falstaff. Hal’s proxy-father relationship with Falstaff is balanced and pulled tight with tension by the hard-hearted King Henry, played with intensity by Richard Coyle (Almeida/Duke of York’s Ink). It unpacks layers of patriarchal complications that shuttle between coldness to death-bed loving attachment. It’s a compelling understanding delicately unfolding over the course of this fascinating adventure.

Another tight-rope balancing act, this time between two different yet powerful worlds, Samuel Edward-Cook (Globe’s Titus Andronicus) finds compelling tones with his Hotspur, in suit and also donning fatigues, playing the modern dress unveiling with force, even with a few unclear contemporary connotations.

At just over three and a half hours, the tonal shifts of Player Kings between parts one and two are subtle yielding a suspenseful framing that leads into a less captivating battleground. But every moment of the complex condensed storytelling is well worth it, mainly to see McKellen living large inside a part that seems tailor-made for this expert thespian. The historical text is heavy lifting sometimes, not exactly created for those looking solely for light comic entertainment, but if Shakespeare is your thing, even the more complicated history plays, then Player King with McKellen feels like required viewing. I only hope that it has been recorded so those who unfortunately missed their chance, will have a further opportunity to take in his glory.

Player Kings was performed at Noël Coward Theatre, London, closing on 22 June, 2024.