The Associated Press
August 20, 1981
Splendid 'Henry IV' at Shakespeare in the Park
By MARY CAMPBELL, Associated Press Writer
Shakespeare in the Park has followed its modernized, jokey "The Tempest" with a traditional, splendidly acted "Henry the Fourth, Part One."
While more than half the audience left at intermission at the critics showing of "The Tempest," the audience for "Henry" on Wednesday night, when critics were invited, stayed throughout.
The audience gasped at some of the lines and happenings as though they didn't know the play. In at least some cases, this was because the production was so good it had the audience rapt, as though following a fresh trail.
This was accomplished without big-name actors or hyping the play.
The three pivotal roles, Prince Hal, Hotspur and Falstaff, all were fine. John Vickery, who has received acting awards in San Francisco, made Prince Hal one personality. He switched from the fool-around pal of Falstaff to the dutiful, battle-leading son of a king in a manner which made that switch believable.
And Vickery made Prince Hal's stature continue to increase as he took on further responsibilities.
Kenneth McMillan, who was Rhoda's boss Jack Doyle on TV's "Rhoda," had joie de vivre as Falstaff. He used a pause for thought and then an old man's voice to talk himself out of predicaments and situations in which he had been proved a liar.
On the battlefield, instead of portraying straight cowardice, he used the same vocal technique to talk himself out of the hazards of fighting. It is impossible to picture this Falstaff as depressed, bored or giving up on life.
The most interesting characterization of all is Mandy Patinkin's as Hotspur. He was last seen as Che, the narrator in Broadway's "Evita."
Patinkin's Hotspur isn't a hot-headed screamer. He talks fast, while enunciating beautifully, likea person whose intellect clicks along fast and who tries to keep up with it. And his melodic voice, with a ringing edge, like an operatic tenor, is a pleasure to listen to.
When Prince Hal praises Hotspur to the skies near the end of the play, it doesn't sound excessive.
The set by Stuart Wurtzel has a striking giant metal sculpture at center stage. The front of this opens from the top, to serve as a ramp, revealing a balcony throne room and a downstairs room.
Des McAnuff directed and put good flow in the action. Patricia McGourty designed traditional Shakespearean costumes. B. H. Barry directed a series of fight sequences at the end, which have the virtue of not having everybody fight the same way.
Douglas, for instance, flails with enthusiam and strength and absolutely no finesse.
The play is scheduled through Aug. 30 but the New York Shakespeare Festival probably will extend the run.