I think I could watch Henry V every month and not tire of it. I know that it is bombastic, warlike, simplistic. And yet it has some of Shakespeare’s most stirring speeches and his most beautiful poetry. It is remarkably funny. It is one of his best plays, and I would like to have a 12 or 13 year old to take to it, as it can be a wonderful introduction to Shakespeare (as an entire play, rather than the abridged versions that can be fabulous for children).

Unfortunately, I would not particularly recommend this production. Perhaps it is unfair of me, as the last play I saw at the Barbican was Cumberbatch’s Hamlet, with Es Devlin’s stunning set. But this stripped down, bare bones production felt lost on the Barbican’s huge stage. The cast were professional and excellent actors to a man (and woman), but some of the interpretive choices did not work for me. It was staged as a stage production, with Oliver Ford Davies’ Chorus making knowing winks to the audience about the staging. But I’m afraid it just looked like they were cutting costs.

I saw Alex Hassell’s Henry IV Part I and II and enjoyed his performances as Prince Hal very much. (It is for that reason that I suspect I may be being unfair to the production, as the stripped down sets for those did not bother me. Devlin’s exquisite – and no doubt expensive – set has spoiled me). However, what worked for me in his performances as Prince Hal, that lordling air of ennui, meant that I did not enjoy his Henry V nearly as much. I think I understand what he was going for – he was trying to illustrate the difficulties inherent in the transformation of a callow pleasure-seeker to a warrior King. Unfortunately, it ultimately came across as simple weakness. And the famous speech on the eve of Agincourt sounded merely desperate, rather than stirring in a Churchillian sense.

The supporting cast were very good, of course. The RSC does not admit mediocre actors. Daniel Abbott (Gloucester) Martin Bassindale (Boy), Antony Byrne (Pistol), Sean Chapman (Exeter), Oliver Ford Davies (Chorus), Nicholas Gerard-Martin (Orleans/Ely), Robert Gilbert (Dauphin), Jim Hooper (Canterbury), Jane Lapotaire (Queen Isobel), Sam Marks (Constable of France), Dale Mathurin (Bates/Bedford), Chris Middleton (Nym/Warwick/Governor of Harfleur), Evelyn Miller (Rambures/Lady-in-Waiting), Keith Osborn (Montjoy/Scroop), Sarah Parks (Mistress Quickly), Leigh Quinn (Alice), Joshua Richards (Bardolph/Fluellen), Simon Thorp (King of France), Obioma Ugoala (Grey/Gower), Andrew Westfield (Westmoreland/MacMorris) and Simon Yadoo (Cambridge/Williams/Jamy), were all very good.

I must particularly praise Jennifer Kirby as Katherine. She was delightful  in all of her scenes, an excellent physical comedienne. And her scene with Henry at the end was the first time I truly believed in him as a King. They had delightful chemistry and he was playful, authoritative and affectionate with her. I enjoyed that scene more than any other in the play.

So a serviceable interpretation. Not bad of course, but it did not attain the brilliant heights that this play can so easily access. I hope not too many adolescent school groups see it, as they will not see Shakespeare’s magic here.