The Old Globe brings an epic two-show adaption of “Henry 6” to the stage with a fantastic cast to tell a story filled with intrigue, battles, and a pursuit for power that would forever alter England’s history. “Henry 6 Part One: Flowers and France” and “Part Two: Riot and Reckoning” are playing in repertory at The Old Globe through September 15th.

Photo credit: The cast of Duel Reality. Photo by Jim Cox

With this production, The Old Globe also celebrates the completion of Shakespeare's entire canon, an achievement only a handful of theatres across the country can claim. This celebration and production extends beyond the stage and into the community, with over 250 San Diegans participating in workshops and performing in filmed moments or brief walk-on parts.

Set during a pivotal moment during the War of the Roses, the original “Henry VI” is a trilogy in the English history cycle that is rarely staged. Yet, its multiple claims to the throne, infighting, and bloodshed have proven to be a pop culture heavyweight as partial inspiration for the bloody “Game of Thrones” by George R. R. Martin.

Adapted and directed by artistic director Barry Edelstein, he has elegantly condensed it into two parts that create an examination of power and human nature that feels as relevant now as it did then. I recommend watching them chronologically to get the full scope of the story, characters, and impact of the parallels in the ever-shifting quest for power.

“ ‘Tis much when scepters are in children’s hands, but more when envy breeds unkind division. There comes the ruin, there begins confusion.” - Henry VI

“Part One: Flowers and France” opens with a clever and clear explanation of how England has gotten to this point. Henry V triumphantly fought in battle to reclaim French land for England but died when his son Henry VI was nine months old. This leaves infant Henry as King of England and France, but the act of ruling is left to his uncles and advisors.

(from left) Keshav Moodliar as King Henry VI and Ian Lassiter as Gloucester in *Henry 6*. Photo by Rich Soublet II.

The young King Henry (Keshav Moodliar) comes of age as a teenager but is more interested in books than battle and has no stomach for squabbling, bloodshed, or making decisions. Henry leaves most of the heavy lifting to his Lord Protector, the Duke of Gloucester (Ian Lassiter), while also seeking counsel from his other uncle, the Cardinal (Mike Sears); both are grasping and ambitious in different ways.

France is becoming more eruptive under the rule of Charles the Dauphin of France (Jake Millgard). The country’s champion, Joan la Pucelle (Cassia Thompson), aka Joan of Arc, is winning battle after battle against English forces and taking back their land. So England sends their formidable warrior, Talbot (Tally Sessions), to win back what was lost.

Meanwhile, with an ineffectual King on the throne, other claimants make their case for the crown, including Richard of York (William DeMeritt). In contrast, others try to secure their power through other means, including the Duke of Suffolk (Gregg Mozgala), who finds Margaret of Anjou (Elizabeth A. Davis) in chains and elevates her to queen of England by convincing a now twenty-year-old Henry into marrying her to unify the two countries.

There are many characters in this play, all vying for power with varying degrees of success. This broad section of characters can initially seem confusing, but it is staged in a way that showcases the impact this fight for power has on all levels of this hierarchy.

England and France have champions to fight for them in Talbot and Joan. Nobles start to think about how their fortunes may alter based on these wars, with Burgandy (Emma Svitil) betraying England for France and the Duke of Anjou (Danny Adams) betraying France for England. Meanwhile, York and Somerset (Cater Piggee) try to outmaneuver each other in the King’s court. It is not until Talbot and Joan’s ultimate outcomes occur that it becomes clear that the age of chivalry and the fight for the greater good of the country is dead; it is now each man for himself.

Mike Sears, left, as Cardinal, Ian Lassiter as Gloucester, Elizabeth A. Davis as Margaret, Keshav Moodliar as King Henry VI, and Victor Morris as Salisbury.
(Rich Soublet II)

This show is good for all ages, with younger audience members being entertained by the physical feats without care about the story itself. The energy of the play is fun and feisty, the techniques are breathtaking, and the clean and simple scenic design and striking lighting highlight the acrobatics. The only thing that feels out of balance is the dialogue which can feel awkwardly wedged in, but the artistry and acrobatics will keep everyone entertain“Part Two: Riot and Reckoning” builds upon this exposition to explode into action, with marching armies for the Yorkists led by the Duke of York (DeMeritt) and his sons. Henry is now an adult with a young son, but his personality is more suited to a monastery than a monarchy. This power vacuum has led to various upstarts vying for the throne, including a rebel named Jack Cade (played by Sessions). Margaret (Davis) leads armies to defend the throne, while Henry occupies the Tower as a prisoner.

Keshav Moodliar leads as the title Henry, who wears the crown so casually it holds back his bangs. He is excellent as the older and war-weary Henry, who would rather be in prayer but is reluctant to give up his divine right to be King.

Edelstein’s version tempers some of Shakespeare’s misogyny by allowing the women to shine as real power players. Davis, as Margaret, is formidable and ferocious, with a tongue as sharp as her sword. She leads armies to defend her son's English crown and takes a bloodthirsty glee at York’s downfall. Thompson is captivating as idealistic and fierce Joan, and even the Earl of Warwick, known as the “Kingmaker,” is played by a formidable Sofia Jean Gomez.

William DeMeritt as the Duke of York in *Henry 6, “Part Two: Riot and Reckoning.”* (Rich Soublet II)

DeMeritt’s York is charismatic and calculating, and his final confrontation with Davis’ Margaret is a riveting scene for them both. Mozgala’s Richard III delivers his soliloquies and dark deeds with vicious excitement.

Other standouts include a vengeful Jose Balistrieri, Millgard as Charles and Louis of France, Sears as a slimy Cardinal, and Lassiter as Gloucester.

Sessions's Talbot has one of the strongest death scenes in Part One and, along with Mahira Kakkar in Part Two, delivers one of the funniest.

One of the most moving recurring themes is the cost of this civil war on those who are fighting the battles when multiple characters discover, to their horror, that they have killed someone they love in the heat of battle.

The costume design by David Isreal Reynoso is gorgeous and lush, with leather, velvet, and elaborate embroideries. Margaret is a Queen in a gown and combat boots, Talbot’s body armor bearing the Union Jack is battle-worn, while Joan's armor is ethereally golden. Part one takes inspiration from the original time of events, while part two has a more modern perspective.

The scene design by Lawrence E. Moten III allows for a two-story, ever-changing set with movable platforms that include multiple staircases and high-resolution panels, which allow Caite Hevner’s projections to shine through and for battles excitingly choreographed by fight choreographer Jacob Grigolia-Rosenbaum. The lighting by designer Mextly Couzin is gorgeous and atmospheric, illuminating the arches of the set to significant effect. The sound design by Melanie Chen Cole is wonderfully layered, showcasing otherworldly voices of spirits, and works well with the music written by Juliàn Mesriby and performed by percussionist Nathan Hubbard and guitarist Martin Martíarena.

As strong as the plays are, some transitions from serious drama to high camp feel awkwardly integrated and abrupt. This is particularly true of Jack Cade’s rebellion, which feels too comically drawn and divorced from the rest.

The original plays explore power, ambition, influence, women, and witchcraft by a young Shakespeare flexing his power of plot and language by throwing a little of everything into this trilogy text. Just as Shakespeare matured into someone who could temper those impulses into writing nuanced works on those themes (“Macbeth” takes them all on), Edelstein’s experience with Shakespeare’s work and this time in history allows him to focus this as an examination of power, the never-ending battle to be on top, and what happens when the quest for power for the greater good is replaced by the pursuit of power for personal ego and gain.

This play feels prescient in understanding how power can unite or divide and when to step down or risk battlefields soaked in blood.

How To Get Tickets

“Henry 6 Part One: Flowers and France” and “Two: Riot and Reckoning” are playing in repertory at The Old Globe through September 15th. For ticket and showtime information, go to www.theoldglobr.org