UBC Publications

UBC Publications

UBC Publications

Henry IV Part I Mar 15, 1989

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ichael  mcbrid
' ^-iS^'vi-•; Clothing of sty
*< ^.v$i?iU: distinction...served up
•. ; »• t,v^.:;,. in a warm, friendly
• ' ''T>^W-;:^... atmosphere.
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TEL. (604) 222-4433   FAX (604) 222-2655
Henry   IV
Part I The choice is mine,
the gift is thine."
Book Tokens, first launched in
Britain in 1932, are now available
in Canada. Here's how they work:
• Buy a Book Tokens greeting card
and choose the amount of the gift
• Mail or give the Book Tokens gift
certificate to a friend or relative
anywhere in Canada, where it can
be redeemed for books to the full
value of the certificate at participating bookstores across the country.
Book Tokens Canada will
donate 25<t from each Book
Tokens greeting card to the
Canadian Give the Gut of
Ltiekacy Foundation.
Book Tokens
Canada's National Book Gift Certificate,
now available at the UBC Bookstore
6200 University Boulevard • 228-4741
Hours Mon Tues Thurs Fri 830 am-5.00 pm
Wed 830 am-8.30pm  Sat 930 am-5.00 pm
Computer Shop Mon-Fri 830 am-5.00 pm
University of British Columbia
Frederic Wood Theatre
Henry IV
William Shakespeare
Directed   By
Roderick Menzies
March   15-25
The Frederic Wood Theatre Magazine
A Seasonal Publication of University Productions Inc.
For further information regarding this
and upcoming publications call:
(604) 732-7708 Director's Notes
Director's Notations
In this post-modern era on the brink of the 1990's I found myself
approaching Shakespeare's renaissance remake of medieval history
with ambivalence. The obvious power of the warrior hero myth,
evoked through Shakespeares's intoxicating language, struggled
with my aversion to militarism in this nuclear age.
Faced with the spectre of nuclear holocaust we seem to have fallen
into a psychic numbness that allows us to deny the depth of the
crisis and to live within the illusion of security indeed from the
cocoon of this numbness we appear to be growing to a tacit
acceptance of our own mass suicide.
Global nuclear destruction even acquires a certain imaginative appeal
as we live under its shadow, its allure lies in its potential to make
our age more significant than any other in history. In one great
tragic-heroic tumult we obliterate all good and all evil, a mythic
transformation that is truly larger than life. And particularly
appropriate now that we have designated the planet as a nonrenewable resource which is about to expire.
Poised as we are between the rubble of crumbling pre-modern
values, forged when human life was threatened by the environment,
and the imagined horizon of the immolation of the planet, where
human life threatens the environment and itself with extinction, how
can we lift the veil of illusion from our fearful post-modern eyes and
see a hopeful future and not a despairing one? Can we acknowledge
the depth of the crisis and yet continue as if what we think and do
matters? Possibly, but not if we perpetuate the militaristic world of
King Henry in the age of nuclear arms.
Perhaps Falstaff offers a useful alternative to the politics of
confrontation and dominance. For, if we are to live as people of
hope in today's world and not slip into numbness or despair, then
our sense of concern for our continuance must be matched by a
sense of humor and a spirit of play.
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How now Katc,I muft Ieauc you withirtthefe two hours.
£,4. O my good Lord, why are youtthtuhlonc/r)
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horjauiaij^ejncenauc 1 tm»lortnigni Din     ^ i\
A^banifo'd woroanYrom my Harries bedT^-iu^*-
Tell mc (fweet Lord) what is't that takes from thee
Thy ftomacke,plcafurc,and thy golden flecp^L
Why doft thou bend thine eyes vpon the cart^ry •
And ftart fo often when thou fut'ft alon£7)
Why haft thou loft the frefh blood in thy checkei^)
And giuen my Treafures and my rights of thee^
Tothicke-ey'dmufing,andcurft mclancholljnM
In my faint-flumbers, I by thee hauc watcht, ^^^^
And heard thee murmorc tales oflron Warrei_t C>A)6 ^<a.u~v&*
Speaketcarrnes ofmanagetothy bounding Steed,
Cry courage to the field. And thou haft talk'd
Cry courage to the field. And thou haft talk d I ^f^ '        ^
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And thus hath fo beftirr'd thee in thy (Wpc,
That beds offweate hath ftood vpon thyBrow^^1        l&tJ&^'(s
Like bubbles in a latc-difturbed Strcame;   <^ritf*»- »*-^
And in thy face ftrangc motions haue appear'd,
Such as we fee when men reftraine their breath
On fome great fodainc haft, O wfyat portents are thefc ?
Some hcauicbufincfle hath my Lord in hand, ^-00*0 »*>
And I muft know it :lclfc hcloucsmcnoc.l -Wfc «**~ a^_ ^cfeP^
H»t. What ho; 11 Cilliamt with the Packet gone ?
Ser. HcismyLord.anhoureagone. ^pofU.   1u
HotMnh Butler brought thofe horfes fr6 the Shcriffe?  U> **~ Ke -
Please enjoy!
Rod Menzies Tower Music
Tower Music
866 Granville
Vancouver, B.C.
V6Z 1K3
Tel: (604) 685-6045
To have
& why not?
To Have and Have Not,
Arsenic & Old Lace
& 28 more Warner
films that are pure
Hollywood Gold.
-95 each f-
videocassette \
^ 734-0411 '
Art, Life and Politics
Henry TV Part I begins in the middle of a long political struggle: the
reign of King Henry is threatened by the reverberations of a crisis
for which he himself is responsible. The play is the second of four
in which Shakespeare explores the events leading up to and
following from Henry's wresting of the crown from the previous,
and legitimate, king, Richard II. Henry's former supporters, men
like the Earl of Northumberland and the latter's son Hotspur, are
now his enemies, and his pious plans to lead a crusade to the Holy
Land must now be deflected to meet the increasing political disorder
in his own kingdom. Hotspur and the rest of the rebels, disaffected
with Henry and feeling disempowered themselves, have taken up
the claim to the throne of Hotspur's brother-in-law, the young
Edmund Mortimer, who is himself a scion of the royal house.
The political interest and relevance of these events during the last
years of Elizabeth I's reign (the play was written six years before
her death in 1603) can hardly be exaggerated. Though Shakespeare
was writing "history", the issues were far from dead. Questions of
the succession were again burning ones - Elizabeth had no heir and
refused to name one. In 1601, followers of the Earl of Essex
sponsored a performance of Shakespeare's Richard II (which
dramatises Henry IV's usurpation and Richard's murder) on the eve
of an abortive rebellion designed to put the Earl on the throne. They
clearly regarded their hero as a second Henry ready to remove an
incompetent monarch from power, and just as clearly they viewed
Shakespeare's play as an appropriate weapon to wield in their
But in Henry IV Part I, Shakespeare is not content to tell only a
political story. Audiences today, in fact, are likely to regard the
political disorders as secondary to the disorderly events in the
tavern, where the unruly Falstaff holds his mock court. His "prince"
is indeed a prince, the "heir apparent," Prince Hal, and therein lies
the problem. Henry IV doesn't like his son hanging around in the
brothels and ale-houses. He has enough on hands trying to deal with
Hotspur's rebellion, let alone that of his eldest son. So...we can see
that the play presents an elaborate set of parallels: Hotspur, the "king
of honour," contesting at court and in the field the authority of the
crowned, but less than perfectly legitimate, Henry; Falstaff, in the
tavern and eventually also in the field, contesting not only kingly authority but the very principles on which it seeks to base itself; Hal,
covert, ambiguous, manipulative, moving deftly from one terrain to
the other.
In all three domains (court, country, tavern), power is at issue:
getting it, maintaining it, losing it. But it is Prince Hal's pursuit of
power that appears most problematic. The play presents the familiar
story of the prodigal son who reforms in time to defeat his enemy
and regain the favor of his father. But Hal is a slippery character -
good humoured and generous on the one hand, detached, canny,
and manipulative on the other. He is not a real prodigal at all, but a
shrewd and charming politician who uses those around him as foils
to set off the glitter of his eventual reformation. Thus when he
seems at his most subversive, he is actually practicing and
consolidating his royal power.
The interpretation of Hal is pivotal; he can be portrayed more or less
positively, but how he is seen will likely affect the overall
conception of the play and the other major characters. A harsh
reading of the character will darken the play, while an air of boyish
naivete will lighten it. The former kind of reading has been favored
in most recent productions - perhaps because of our contemporary
tendency to distrust political power. Often too, such productions
have generated cynical interpretation of Hotspur's honour, and a
conception of Falstaff that emphasizes the venal rather than the witty
and expansive side of the fat knight.
In the end, Shakespeare's plays always offer multiple choices about
how they are to be interpreted - which is one of the reasons they
keep being revived. Different generations, different decades,
different localities will read and represent Shakespeare in their own
ways, often telling us as much about themselves as they do about
the texts. In that sense, the plays are a kind of cultural cipher, a sign
of our concerns. How we read Shakespeare mirrors, to use a
favorite Renaissance image for the relation between art and life, how
we read our own political and social world.
Anthony Dawson
Professor Dawson teaches in the Department of English at U.B.C.
4454 West 10th
 224-5116 '
A Great Neighbourhood!!!
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Toll Free: 1 -800-663-1174 Fax (604) 732-3765 A Note on
A Shakespeare Music Catalogue
The result of a six-year effort by a research team, led by Dr. Bryan
N.S. Gooch and Dr. David Thatcher and based at the University of
Victoria, A Shakespeare Music Catalogue is now in the hands of
Oxford University Press. When published, the Catalogue will
consist of five volumes. The first three are devoted, in the main, to
annotated listings of music, in print and in manuscript, connected in
any way with Shakespeare. Details of close to 20,000 works are
provided, and compositions include incidental music, operas,
ballets, and other stage works, non-theatrical vocal and instrumental
pieces, obliquely related music, settings of combined texts, etc. The
pieces in the first three volumes are arranged according to play,
sonnet, and other works. The fourth volume consists of a number of
cross reference indices, allowing access to the material by virtue of
composers' and librettists' names, first lines, and titles. The fifth
volume is a selected, annotated bibliography of books, articles,
dissertations, and reviews - some 3000 items - on the subject of
Shakespeare music.
The Catalogue constitutes a significant contribution to the world of
Shakespeare scholarship. It will prove useful not only to musicians
and musicologists but also to literary specialists, theatre historians,
and producers - indeed, to all those interested in the relationship of
music and literature. It will facilitate, for instance, comparative study
of various treatments of Shakespeare texts - in or between particular
countries and periods - and will allow those involved in production
to consider, for example, the effect of the vast number of incidental
compositions which have been written for the plays, especially from
the mid-seventeenth Century to the present. All the plays, except for
The Comedy of Errors, specifically require music, and that which is
used can have a profound impact on the nature of a production and,
obviously, on the interpretation of single roles. Beyond this, of
course, it is hoped that the Catalogue, in making better known the
wealth of music which Shakespeare and his writings have inspired
all over the world, will prompt a fresh look at -and performances of-
a great deal of splendid material which has been, in many cases,
undeservedly neglected.
The preparation of the Catalogue has been made possible through
the generous support of the Social Sciences and Humanities
Research Council of Canada and of the University of Victoria, the
dedication of members of the research team (including Odean Long,
who has been Associate Editor, and Dr. Peter Loeffler, of the
Department of Theatre at U.B.C, who served as Research Fellow),
and the assistance of institutions and individuals in many countries.
The extent of the documentation in the volumes is a testimony to the
range of inspiration in the musical world which the works of
Shakespeare continue to stimulate.
the harnessed energy of Vancouver's hottest young actors
Impulse   Theatre   Company
Proudly   Presents
William Shakespeare's
As You Like It
T Directed by Simon Webb
Running August 17, to the 28th, 1989
At Kits House - 7:30 pm Show Time,
7:00 pm Doors Open
Kitsilano Nieghborhood House
2325 West 7th Ave.
Reserve Now: Call 875-8360
Tickets: $8.00 General Admission;
$5.00 for Members, Students and Seniors
Don't Miss The Excitement of Shakespeare in the Summer!!!


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