Henry V by William Shakespeare

Dramatis Personae The English King Henry V……………………………………………………………………….. Ian Parker / Corrie Riedl Duke of Gloucester…………………………………………………………..………………….. Gwen Oliver Duke of Bedford……………………………………………………………………..……….. Jerusha Lehnert Duke of Exeter…………………………………………………………...... …………………. Austin Solheim Duke of York………………………………………………………….…………………….. Emma Gustafson Earl of Salisbury…………………………………………………………………...……….... Rachel Charniak Earl of Westmoreland………………………………………………………….…………….…… Jack Russell Archbishop of Canterbury...………………………………………………….…………………….. Mike Bray Bishop of Ely……………………………………………………………...... ………………. Olivia Muenster Earl of Cambridge…………………………………………………………..…..….. Kylie Shannon / Jon Hale Lord Scroop…….………………………………………………………………...……….. Katherine Hackney Sir Thomas Grey………………………………………………………………………...…… Sophie Hornung Thomas Erpingham, an English officer……………………………………………………… Drake Schneider Gower, an English captain…………………………………………….………………………. Christie Moore Macmorris, an Irish captain…………………………………………………………………….. Ian Stevenson Jamy, a Scottish captain………………………………………………...…………….………… Zak Metalsky Fluellen, A Welsh captain……………………………………….....…… Jess Kostopolus / Duncan Schneider Bates, an English soldier……………………………………………………………………… Megan Stehula Williams, an English soldier…………………………………………………...……………….. Alyssa Benyo Pistol, a rogue and former companion of Henry, now in his army………...……… Jon Hale / Kylie Shannon

www.AppletonNorthTheatre.com 1 Nym, a rogue and former companion of Henry, now in his army …………………… ...………… Mike Bray Bardolph, a rogue and former companion of Henry, now in his army .... Duncan Schneider / Jess Kostopolus Boy, servant to Pistol, Nym, and Bardolph..………………………………………………….……. Tony Dix Hostess Quickly……………….…………………………………………………………...……… Sarah Trelc

The French King Charles VI of France……………………………………………..………………………. Zak Metalsky Lewis the Dauphin…………………………………………………..……… Joey Krohlow / Alex Cronmiller Duke of Burgundy…………………………………………………………...………………….. Heather Files Duke of Orleans………………………………………………………………….………………… John Bray Duke of Bourbon……………………………………………………………………….………. Sidney Juidici Duke of Britane……………………………………………………………………...... ……… Hannah Schierl The Constable of France………………………………………………………..……………….. David Fisher The Governor of Harfleur………………………………………………………..……………. Isaiah Mahnke Lord Rambures………………………………………………………………………..………. Rachel Fritzell Lord Grandpre………………………………………………………………………………… Paige Palomaki Montjoy, a French herald………………………………………………………..…………… Frankie Moesch French Ambassador to the King of England……………………….....…...… Alex Cronmiller / Joey Krohlow M. le Fer, a French soldier…………………………………………………... Alex Cronmiller / Joey Krohlow Queen Isabel of France…………………………………………………………………………… Ella Janson Katherine, princess of France……………………………………………………….……… Catherine Backer Alice, Katherine’s gentlewoman……………………………………………………………… Christie Moore Chorus Catherine Backer, Alyssa Benyo, John Bray, Rachel Charniak, Heather Files, Rachel Fritzell, Emma Gustafson, Katharine Hackney, Sophie Hornung, Ella Janson, Sidney Juidici, Olivia Kuenster, Jerusha Lehnert, Isaiah Mahnke, Amanda Moesch, Gwen Oliver, Paige Palomaki, Corey Riedl/Ian Parker, Jack Russell , Hannah Schierl, Drake Schneider, Austin Solheim, Megan Stehula, Ian Stevenson, Sarah Trelc William Shakespeare…………………………………………………………………Corey Riedl / Ian Parker Falstaff………………………………………………………………...... …………………………..Mike Bray King Henry IV…………………………………………………….……………………………Christie Moore

2 www.AppletonNorthTheatre.com Technical Crew

Director………………………………………………...... …………………………………Ron Parker

Assistant Directors…………………………………………...... …………..Gina Berceau, Becca Fox

Set Designer/Technical Director……………..……………………...... ……………….Jason Pohlkotte

Assistant Technical Director...... Brandon Cavaiani

Costume Design…………………………………………………...... ………..……………..Tina Hoff

Scenic Painting……………………………….…………………...... ………………..David Hartman

Light Design…………………..……...……………………..…...... Adam Gunn, Brandon Cavaiani

Original Musical Score…………..………………………………...... ……………….Jay Chakavorty

Light Board………………………………………………………...... ……………Brandon Cavaiani

Assistant Light Board………………………………………………...... ……………..Ashley Burger

Sound Design…………...…………………………………………...... …………………...Alex Parker

Soundboard……………………………………………………………...... ………….Blake Bowman

Properties Mistress………………………………………………..…...... ………….Allie Springstroh

Costume Mistress………...…………………………………………...... …………...Taylor Vergeront

Make-up Mistress…………………………………………………...... ……………..Olivia Kuenster

Run Crew…………..…...... …… Jake Morley, Nick Ebben, Molly Biskupic, Gabe Fleck

Poster Design……………………………………………..………………...... …………..Mark Benyo

Program Layout…………………………………………………...... ………….Catherine McKenzie

Vocal Music Assistance………………...... ……….…Catherine Backer, David Fisher, Joey Krohlow

Prop Assistance…………………………………….………..…………….……….Gina Berceau, Tara Werth

Box Office/Concessions Coordination………………..……...... ………………….Sharon Schneider

www.AppletonNorthTheatre.com 3 Acknowledgements North High School Custodial and Secretarial staff, James Huggins, Nelda Parker, Catherine McKenzie, Gail Bowers-McKay and the Fox Valley Summer School Consortium, Pick N’ Save, Copps, and the par- ents and families of cast and crew without whose support and encouragement this production would not have been possible.

A Special Thank You to Gina Ber- natured ribbing of the director (it ceau and Becca Fox, assistant direc- is good natured, right?) tors and Summer Shakespeare alum- ni, for sharing their gifts as assistants A Special Thank You to David and for their many contributions as Hartman, artiste par excellence, artists, actors, teachers, managers, for his guidance, dedication, and designers, and true believers in the artistic ability in painting our set. goals of Summer Shakespeare—and A Special Thank You to Adam for keeping an aging director from Gunn, Summer Shakespeare completely losing his mind. Alumnus, for his skilled lighting A Special Thank You to Jason design and positive artistic vision Pohlkotte, Summer Shakespeare despite the challenges faced in Alumnus and Designer/ Technical lighting in the round. Director for all of your many, many A Very Special Thank you to all hours of expertise in creating and those who have participated constructing the set, teaching and in the Summer Shakespeare guiding the student technicians, and program over the past twenty for once again coming to the direc- six seasons. You are the reason tor’s rescue. You are much appreci- we have survived and continue ated. to flourish!!! A Special Thank You to Tina Hoff, Summer Shakespeare Alumnus and Costume Designer for her creative genius, dedication, willingness to costume what must seem like a cast of thousands, and constant good- The scenes are laid in the countries of England and France.

***** There will be one fifteen-minute intermission.

Please partake of our varied and refreshing concessions in yon outer lobby.

4 www.AppletonNorthTheatre.com A Brief History of Summer Shakespeare Theatre The idea for the Summer Shakespeare The- I could offer the course as part of the summer school atre program actually came about from seeing a bad curriculum but for no credit. I would be allowed production of one of his works. It was 26 years ago, to use one of the local high school auditoriums, but and I had just come back from my honeymoon and would receive no budget for the production. as a new teacher was required to attend a week-long educa- Accepting those tion conference at U.W. Plat- terms, Summer Shakespeare teville. While there, I attended was born. In the summer of performances of the now defunct 1987 a group of 16 young Wisconsin Shakespeare Festival. high school actors—many While there were many wonderful of them students I had moments witnessed on stage, the taught at Washington, met production of MACBETH which on the stage of Reuther was offered featured several High School in downtown “guest artists” who were actu- Kenosha to study and per- ally television soap opera actors form MACBETH. Having moonlighting in lead roles. The amount of ‘scenery no money and less experience, we created a castle chewing’ and overact- out of pallets “borrowed” from behind a nearby ing was disappoint- K-Mart, rolls of butcher paper and chicken wire, ing, if not embarrass- and vines taken from one of the cast member’s back ing. After making it yards in a midnight stealth operation. The result was through the production, something vaguely Medieval and even impressive— I commented to my if you kept the stage lights very low. Audiences were new wife, “My students small, but appreciative. It was a magical experi- could act as well, prob- ence—made more magical ably better.” That Fall, by the birth of my first after starting the school child just a week before year at Washington opening. Junior High School After surviving in Kenosha where I that initial year, subse- taught English and Drama, I wrote a proposal for a quent summers brought summer theatre program where students from all the more students from more high schools in the city could come together to learn schools as well as loyal about and perform a work of the greatest playwright and larger audiences. In in the English language. To say that the idea was the summer of 1999, now received coolly is an understatement. I was told a teacher at Tremper High that kids would never give up their summers to be School in Kenosha, and cooped up inside a theatre, let alone work with other preparing OTHELLO, students from rival schools. Then, Shakespeare? No I was offered a position at North High School in self-respecting teenager would voluntarily give up Appleton as theatre director. One of my requests his vacation for something he couldn’t even un- before accepting the job was to be allowed to con- derstand. The whole notion was crazy. However, tinue the Summer Shakespeare Theatre program in having even then as a new teacher developed a repu- the Fox Valley. tation for leaning towards the unorthodox, the edu- cational Powers that Be gave me permission to fail. And so in the summer of 2000, AS YOU

www.AppletonNorthTheatre.com 5 LIKE IT was presented in the North auditorium by a to become professional actors—performing Shake- group of 16 students from various area high schools speare (now for money) on stages around the world. to a small, but appreciative audience. Since then, Others have become teachers and have brought their the program has grown to include over 50 students love of Shakespeare into their own classrooms to each summer—each of them share. All of them carry a part carrying on a tradition that of this unique and indelible ex- started before any of them was perience inside themselves— even born. whether for the first time as a student in this production or as That tradition which is an adult from their own former th now celebrating its 26 year productions long past. is a strong one—this is evi- dent not only in the continued Regardless of the time interest and participation of or the place where they first current students but even more so in the enthusiastic met the man who is Shakespeare, the many hun- and heart-warming response of hundreds of former dreds of individuals who have been part of Summer program participants—many now in their 40’s— Shakespeare Theatre all share the same connection who continue to share with me and others the fond and passion for his genius. And while it is that memories they have of their time with the Bard on genius which is really at the heart of this program— stage or back stage and of the impact the program what we are really celebrating is each other and all continues to have on their lives. Some have gone on that we have found therein. Summer Shakespeare Theatre History Timeline

KENOSHA FOX VALLEY 1987—Macbeth 2000—As You Like It 1988—Taming of the Shrew 2001—A Midsummer Night’s Dream 1989—Romeo and Juliet 2002—Richard III 1990—Twelfth Night 2003—Romeo and Juliet 1991—A Midsummer Night’s Dream 2004—The Tempest 1992—As You Like It 2005—Much Ado About Nothing 1993—The Tempest 2006—Hamlet 1994—Much Ado About Nothing 2007—Twenty Summers with the Bard 1995—Hamlet 2008—The Merchant of Venice 1996—Macbeth (10th anniversary) 2009—Othello 1997—A Midsummer Night’s Dream 2010—A Midsummer Night’s Dream 1998—Romer and Juliet 2011—Richard III 1999—Othello 2012—The Winter’s Tale (25th anniversary) 2013—Henry V

6 www.AppletonNorthTheatre.com such as asides and soliloquies—where a character turns and speaks directly to the audience—bringing them into the action and allowing them intimate in- A Different Kind of Theatre sight into the character’s mind. This made the play a much more active experience for everyone compared Theatre in Shakespeare’s day differed from that of to our relatively passive our time in several ways. one today. We have at- For example, scenery tempted to recreate that changes to indicate new close relationship in our locations, which are so production of HENRY V. inherently part of modern We have placed the audi- theatre, were essentially ence directly on the stage, non-existent. The stage creating a more intimate, background whether at ‘black box’ theatre experi- Shakespeare’s home the- ence. It is exciting for us atre, The Globe, or at one to be able to recreate this of their company’s many original intention of the indoor performances playwright and to expe- at court, stayed essen- rience the impact it has tially the same. A chair upon the story being told. or bench may be used and changed to show a differ- ent place, but basically actors worked on a bare stage with a minimum of scenery and props. If a scene changed from a palace to a field, as it does in HENRY V, the actors would indicate where they were through language. Shakespeare’s charac- ters aren’t just stating the obvious, but giving vital Neither a Borrower nor a Lender Be. information to an audience who saw essentially the But a Giver is Great! same stage they had seen in the scene before. While we do take advantage of modern lighting and other Acting companies in Shakespeare’s day were techniques, we have kept our set essentially the same supported by wealthy aristocratic patrons who met for the entire play as well as kept our scenic pieces the financial obligations of the dramatic troupe. To- to a minimum. This is how the Bard conceived his day, we have no such benefactors to adopt and care play, and how we believe, it works best. for programs such as Summer Shakespeare Theatre so we must turn to you for that support. If what you Another difference between theatre of the English see this evening pleases you, won’t you consider a Renaissance and today is the relationship between donation to help keep Summer Shakespeare Theatre actor and audience. Typically modern theatregoers alive and well? Checks can be made out to Summer are separated from actors on the stage by a distance Shakespeare Theatre and left with any cast member of many feet. In Shakespeare’s time, the audience or mailed to Summer Shakespeare Theatre, 5000 N. was much closer—so close, in fact, that they could literally reach out and touch the performers—which Ballard Road, Appleton, WI, 54913. We thank you often they did, much to the dismay of the actors try- for your interest and support. Shakespeare would ing to concentrate on their roles. As a result of this thank you too! closeness, playwrights utilized theatrical techniques

www.AppletonNorthTheatre.com 7 Give us thy Thoughts! We would love hearing your comments about this production or the Summer HENRY V soundtrack by Shakespeare Theatre program London composer in general. You can write us at Jay Chakavorty Summer Shake- speare Theatre, 5000 N. Ballard Road, Appleton, WI on sale for $10.00. 54915. You can also e-mail at parkerronaldc@aasd. k12.wi.us

noble speeches, heroic battles, invade a nonaggressive country About the play and valiant English underdogs and to slaughter thousands of The initial inspiration for Henry who fight their way to victory people. He sentences to death V may well have been an anony- against all odds. Additionally, former friends and prisoners mous play, The Famous Victories King Henry seems to be a per- of war while claiming to value of Henry the Fifth, whose only fect leader—brave, modest, and mercy, and he never acknowl- surviving text, printed in 1598, fiercely focused, but with a sense edges that he bears any respon- seems to be a debased and abbre- of humor to match. Henry first sibility for the bloodshed he has viated version of the lost original. appeared in the two preceding initiated. It is useful to watch the Two history books gave further histories of Henry IV. As Prince play with an eye toward these information, Raphael Holinshed’s Hal, he displayed qualities that discrepancies, which Shake- Chronicles of England (1587) were anything but heroic. Hang- speare examines in a compli- and Edward Hall’s Union of the ing around with unsavory “street- cated exploration of the nature of Two Noble Families (1548). types” he developed a reputa- kingship and the cruel reality of tion for partying and a lack of war. Whether or not he appears Henry V is one of Shakespeare’s respect for the law. Eventually, to be an admirable man, Henry so-called history plays. It forms the responsibility of his royal is presented as a nearly ideal the fourth part of a tetralogy (a blood and the call of his country king, with a diamond-hard focus, four-part series) dealing with bring him round and he breaks an intractable resolve, and the the historical rise of the English with his past to become not only willpower to subordinate his own royal House of Lancaster. (The redeemed but also the Redeemer personal feelings to the needs of three plays that come before it of his nation. his nation and his throne. The are Richard II, I Henry IV, and brilliance of Henry’s speeches II Henry IV.) Henry V, probably The play’s treatment of King and his careful cultivation of his written in 1599, is one of the Henry V, however, is more image make him an effective most popular of Shakespeare’s problematic than it seems at and inspiring leader. Whether he history plays. It contains a host first glance. Henry is a model of emerges from the play as a heroic of entertaining characters who traditional heroism, but his value figure or merely a king as cold as speak in many accents and system is confusing. After all, he is brilliant depends largely on languages. The play is full of his sense of honor leads him to each individual interpretation.

8 www.AppletonNorthTheatre.com From the director I first decided to direct HENRY V after seeing my former student and Kenosha Summer Shakespeare alumnus, Matt Schwader play the title role in the American Players Theatre production in 2011. That amazing production—so powerful and moving— gave me a renewed appreciation for the play and a desire to expose my students to all that it had to of- fer. As I began to do my deeper research of the play, I discovered a work much more complex and com- pelling than is often seen as today. The play has been seen over the years as making a strong pro-war state- ment with its famous rousing battle speeches and more recently as holding serious anti-war sentiments with the play’s blunt descriptions of carnage and loss. But HENRY V is not a play that is for war or against war—but rather it is a play ABOUT war—in all of its parts, both inspiring and ugly. Every soldier knows well (to quote an American general) that “war is hell.” Shakespeare, while holding high and hon- oring those who serve and sacrifice, also does not flinch from the horrific, darkest realities of war. He boundaries and rivalries. And they have created gives us the whole story as no other writer ever has a fine production of one of Shakespeare’s greatest or perhaps ever will, and it is that story that the cast histories in the process. For many of these young and crew hope to tell in this production. actors this production marks their first appearance ever on any stage. For others, this marks their last This group of highly talented and energetic performance as a high school student as they prepare young actors and technicians has come together from to venture onto the much larger stage of Life. This several schools in very wide spectrum of ability our area for the past “For many of these young actors and experience has always been a six weeks to learn this production marks their first appear- distinguishing feature of the Sum- about and perform ance ever on any stage. For others, this mer Shakespeare program. There the greatest play- marks their last performance as a high are no auditions, no one who wright of all time. enrolls in the program is cut—ev- They have studied school student as they prepare to venture eryone who wishes to learn about Shakespeare’s life, onto the much larger stage of Life.” the Bard and experience him is his times, and his welcome. By making Shake- theatre—becom- speare and this program a part ing something of of themselves, they have dared “Bardologists” to dream—and have made their in their love for his words and characters. They dreams a reality this summer. It is a dream they are have learned about set design, lighting, cos- now ready to share. As the Bard himself put it, “We tumes, make-up and the myriad of other elements, are such stuff as dreams are made on.” Thank you which make up the magic we call ‘theatre.’ They for your attendance and support of Summer Shake- have also gained the life-skills of cooperation, speare Theatre’s continued success in the Fox Valley. respect, discipline, compromise, concentration, Now sit back and enjoy the dream….. and built friendships which cut across school

www.AppletonNorthTheatre.com 9 and place. As always Shakespeare says it best in the About the chorus opening choric prologue: HENRY V is unique among Shakespeare’s plays in Piece out our imperfections with your thoughts; that it is the only one of his works that unabashedly shows us “the man behind the curtain.” Through Into a thousand parts divide one man, the character of Chorus who appears throughout And make imaginary puissance; the play, we, in the audience, are spoken to directly Think when we talk of horses, that you see them and asked to look long and hard at the wheels and Printing their proud hoofs in the receiving earth; cogs—both human and otherwise—which make up For ‘tis your thoughts that now must deck our the machine we call theatre. We are asked to ex- kings, amine and then to accept the imperfections of this Carry them here and there; jumping o’er times, special form of storytelling—where nothing is real Turning the accomplishment of many years or even close to real but pretends to be so: A chair Into an hour-glass. is called a throne, but is, in reality, only a chair; an actor is knelt to as a king, but is in reality any- Shakespeare knew that the greatest stage of all thing but royal. Shakespeare reminds his audience is the human mind and all that it can create. The through chorus in HENRY V the cho- “Think when we talk of horses, does more than sim- rus that ply summarize what they must that you see them...” has happened or lay use their out what is to come. imagina- It demands of us to tions to see all that is taking place before them on become partners with those on stage and believe in a stage, an “unworthy scaffold, ” that is wholly more than what we can simply see with our eyes— inadequate to recreate the realistic details of time and by believing, become more than what we are.

The Language of Henry V Shakespeare’s plays are mainly written entirely in blank verse—which is the format followed by play- wrights in the Renaissance. Blank verse has a regular rhythm, but does not rhyme. In blank verse, each ten syllable line has five alternating unstressed (U) and stressed (/) syllables. This pattern is called iambic pentameter as in: U / U / U / U / U / Once more unto the breach, dear friends, once more This rhythm, ta DUM ta DUM ta DUM ta DUM ta DUM, is the most natural of all rhythms—being the meter of the human heart. Research has also shown that spoken English naturally falls most often into the pattern of iambic pentameter which explains why playwrights chose it. Even today without realizing it, all of us spend our days speaking in the rhythm of Shakespeare! The trick for actors of the Bard’s work is to make this rhythm sound natural to modern audiences. Our young actors have worked hard to master this difficult but vital skill.

10 www.AppletonNorthTheatre.com The king and his lords enter and fect is now a part of Germany, not

Synopsis are met by the two bishops to France. Therefore, with the Salic Chorus discuss his claim to the throne of Law not being in effect within France. First, the king gives a se- the realm of France, Henry is the The Chorus laments that the play- rious warning to Canterbury that rightful heir to the throne. After ers and the theatre space cannot the claim he will explain to him hearing this, the king is continu- adequately represent such great is legitimate because much blood ously urged by both the bishops events as King Henry V’s war will be shed if it is. Canterbury and his lords to invade France and against France, but begs the audi- says it is indeed legitimate and pursue his rightful claim. Henry is ence’s indulgence and asks that that Henry has a claim through his convinced by Canterbury’s words they use their imagination to make and agrees to pursue up the inadequacies. his claim. At this point, the French Act 1, Scene 1 ambassadors are The Archbishop of sent in. They deliver Canterbury and the a message from the Bishop of Ely dis- Dauphin of France cuss a bill that was saying that Henry in discussion during has no right to claim the reign of Henry any of the duke- IV that would be doms of France in highly detrimental the name of Edward and expensive, to III. The ambassa- the church, and how dors than deliver a it is in discussion to gift to Henry from be put into practice. the Dauphin which They then discuss turns out to be a how well the king sarcastically given has adjusted to his box of tennis balls new position and how alluding to Henry’s much he has matured recent wild youth. since his rise to the To this, the king is throne. Canterbury angry and deliv- claims that the king ers a long speech, seems to be more ordering the ambas- towards the side of sadors to tell their the clergy on the master that he will subject of the bill and invade France and that he has offered take what is right- the king more money fully his. After the to fund the wars in France than great-great-grandmother Isabella ambassadors depart, the king any other past church official has (mother to King Edward III). discusses his plans for war. and reminds him of certain claims France claims to have a Salic Law Chorus that he possesses to certain titles, in effect (a law that bans succes- namely the crown of France. sion through the females). Yet, as Chorus describes the excited, Canterbury claims, the territory eager English preparations for the Act 1, Scene 2 that the Salic Law was put into ef- war in France

www.AppletonNorthTheatre.com 11 Act 2, Scene 1 with the French and that the scene who drunkenly spoke out against must now shift to Southampton. him and how he should not be Nym and Bardolph discuss Nym’s punished for his outburst. Scroop hatred for Pistol. Bardolph says Act 2, Scene 2 and the others then say that the he will arrange a breakfast be- Exeter, Bedford and Westmo- man should be punished in order tween the two, who are at odds to set an example, yet the king over Pistol’s marriage to Mistress reland discuss the conspiracy against the king and Bedford says he will pardon the man (who Quickly, who Nym was origi- is obviously fictitious) despite nally betrothed to. Nym says he notes that the king is aware of the plot against his person, yet their objections and gives the con- do his best to behave. Pistol and spirators, who were summoned his wife arrive and he and Nym the conspirators are unaware that he knows. The king and the to be commissioners of England almost immediately in the king’s absence, draw their swords on their charges. The papers one another. Both Bar- given to them turn out to dolph and Quickly act be documents that reveal as peacemakers and the their plot to murder the two ultimately put their king and the men imme- swords away, though diately beg mercy. The not without many nasty men, who just asked the words. Falstaff’s page king not to give mercy enters bringing news to another man for a that Falstaff is griev- much lighter offense, ously sick and Quickly are harshly rebuffed and goes off to tend to him. arrested for high treason. While she is away, Nym All three men seem to and Pistol resume their take their sentence well, argument (which now in- asking only for forgive- cludes Pistol owing Nym ness for their souls, not money) and Bardolph, their bodies. The king once again, must keep says it is up to God to the peace. In the end, give their souls mercy the two men agree to and sentences them to be civil since they must death. After the conspira- soon go off to France tors are led off, Henry together to fight in the speaks of the future wars. Quickly reenters English success in France to tell the men they must three conspirators then enter and and how they shall not come stand by an increasingly leave their enemy country until he sick Falstaff. the king asks for their advice on certain matters concerning the is proclaimed king. Chorus French expeditions. Henry claims Act 2, Scene 3 he does not doubt that all are in The chorus discusses the fear the agreement with him on the topic In this scene, we are informed that French display when they hear of the French War and the three Falstaff has died, swearing off of the impending invasion. We conspirators flatter him immense- sack in the process. The old tavern then learn of a conspiracy being ly, claiming that all of his father’s group reminisces of their old hatched against King Henry by enemies are now faithful to him. friend until the men have to depart three English lords in alliance The king then speaks of a man to fight in the wars in France.

12 www.AppletonNorthTheatre.com Chorus the offer and the stage is set for Act 3, Scene 2 further wars. The chorus asks the audience King Henry delivers a speech follow with their minds the many Act 3, Scene 1 outside the gates of Harfleur, de- young English men who are join- manding they surrender or he will ing King Henry’s army, leaving An inspirational speech deliv- burn the city to the ground, rape behind only women, boys, and old ered by King Henry to his men. the women and kill the children men to guard their native country. After the speech, the English and elderly. The governor of the army attacks the city of Harfleur. city appears and tells the king Act 2, Scene 4 Those of the tavern group try to that the Dauphin is not able to indiscreetly retreat from the battle The French king and his lords ready his troops in time to rescue when they are driven towards the them. Therefore, they will yield to discuss their plan of action for the action by Fluellen, a Welsh cap- pending English invasion, while Henry and face the consequences. tain. After their departure, the boy The king tells his uncle Exeter to the Dauphin insults King Henry. tells of the less than honorable However, the constable and the go in and treat the people of the actions the men are capable of and city kindly. He ends the scene by king both agree that Henry cannot says he needs to find more reputa- be underestimated and that he is a saying they will stay in Harfleur ble men to associate with. He then for the night but, since his soldiers formidable enemy. At this point, departs. Fluellen and Gower, an a messenger brings word of the are growing increasingly sick, English soldier who has been in they must retire to Calais for the arrival of the English and Exeter tunnels dug under the castle walls is brought in. Exeter tells the king winter before they can engage the to lay explosives, enter and dis- French. that he must give up the crown cuss the actions of the war. Gower of France and swear allegiance claims that Fluellen must go to Act 3, Scene 3 to Henry, the supposedly rightful the mines under the orders of the King of France, or a bloody con- Duke of Gloucester, who is being This scene consists entirely of a flict will ensue. He also delivers ordered around by Macmorris, an conversation, in French, between a stern message to the Dauphin, Irish soldier. Fluellen is clearly Katherine, daughter to the King of saying that he shall pay if he does displeased with this action and France, and Alice, an older gentle- not right the wrong he committed declares that Macmorris knows woman. Katherine asks Alice, in sending Henry the tennis balls. nothing of the methods of war as who spent some time in England, The Dauphin, of course, answers laid out in his book of military to teach her how to speak the defiantly. The king says they shall codes and procedures. Macmor- English language. The two then have his answer the following ris, and Irish soldier and Jamy, a discuss the English words for day. Exeter leaves a special gift Scottish soldier, enter. Fluellen several different body parts, some from Henry to the Dauphin. has nothing but kind words to of which Katherine mistakes for vulgar words in French before go- Act 3, Chorus say to Jamy but, has some ques- tions about the art of war for ing to dinner. Chorus tells of King Henry’s de- Macmorris, which he asks after Act 3, Scene 4 parture from England and arrival Macmorris tells of the French in France where he lays siege to retreat. Macmorris tells Fluellen The French King verifies that the French city of Harfleur. In there is no time for talking of such Henry has retreated to Calais and order to prevent the English from things right now and is offended the lords present all urge him to destroying the city, the French by Fluellen’s comments. Gower attack the English in their weak- king offers his daughter, Kather- ultimately stops the argument ened state. This is followed by a ine, and several miniscule duke- between the two men but Fluellen series of derogatory comments doms as a peace offering to Henry promises to finish the conversa- about the English people. The as a peace offering. Henry refuses tion at a more convenient time. king agrees with his lords and

www.AppletonNorthTheatre.com 13 gives the order to attack Henry from the French king: The French the English camp during the night and his starved and ill troops. could have fought at Harfleur but and how Henry will walk through Furthermore, the constable claims thought it best to bide their time. it, treating all his men as equals. that, since they are outnumbered They are well aware of the poor and at a complete disadvantage, state of the English army and are Act 4, Scene 1 Henry will tremble at the very willing to show mercy if Henry King Henry is discussing the sight of the French army and offer offers up a ransom that covers the dangers the English army shall himself up for ransom immedi- losses the French have already soon face with his brothers when ately. The king orders his herald, suffered in the war. In reply, Sir Thomas Erpingham arrives. Montjoy to the English camp to Henry says that he will give no He asks to borrow his cloak (to discover how much Henry is will- ransom and, although his army is disguise himself) and then tells all ing to pay as ransom. in poor shape, if the French wish he would like to be alone with his to engage his army now—without Act 3, Scene 5 thoughts. After the lords depart, allowing them passage to Calais Pistol enters and converses with a Fluellen arrives to tell Gower that for the winter, they will fight the disguised Henry. Pistol says some the bridge under English control French until the very end regard- kind, and some not so kind, things is being guarded valiantly by less of their weakened state. He about the king and the king tells Exeter. Pistol arrives and informs then sends Montjoy away with Pistol his name is Harry le Roy, Fluellen that Bardolph has sto- this message and the troops pre- a Welshman. When asked if he len a pax from a church and is pare to sleep for the night. knows Fluellen, Henry answers sentenced to be executed for his Chorus that he does and that he is a kins- crime under orders from Exeter. man of his. Pistol than curses He asks if Fluellen can put in a The chorus describes the overcon- them both and departs after telling good word with the king to stop fident French who eat and drink Henry his name. Fluellen and the execution, but Fluellen says in their splendid tents the night Gower enter and briefly discuss he deserves the sentence and before the battle--playing games how an army camp should be would feel his own brother would and gambling about prospective run, much to Henry’s joy. Henry deserve the same based upon the English prisoners with each other. leaves them and comes across two code of military conduct. Pistol soldiers, John Bates and Michael curses Fluellen. At this point, Act 3, Scene6 Williams. Henry begins a long Henry and his army arrive and The Dauphin and the lords comi- conversation with the men on the inquire about the bridge and the cally discuss matters such as their discourses of war and the rela- number of soldiers lost. Fluellen armor and horses to kill the time tionship between monarch and replies that the bridge is being until morning. After the impatient subject, among other things. The guarded by the honorable Exeter Dauphin departs, some of the king, still disguised, then says and the only soldier about to be other lords do not think he pos- that he will never be ransomed, lost was Bardolph, for robbing sesses as much valor as some may but Williams claims that, if they a church. Bardolph is brought in think. The lords think it is foolish die in battle, the king may ransom and appeals to his old compan- for the English not to retreat when himself and they would be none ion, Henry, for mercy. The king they are clearly outnumbered and the wiser, and, to this, Henry re- agrees with the death sentence and in bad shape. They prepare to do plies that he would never trust the Bardolph is hanged. He declares battle against Henry’s army the king again if he were to do such a that the French people should be following morning. thing. Williams does not care for treated with respect and nothing this comment against his monarch should be stolen under penalty of Chorus and challenges the disguised king death. Montjoy the French herald to a duel if they both survive the arrives and delivers a message The Chorus describes the scene at battle. The two men exchange

14 www.AppletonNorthTheatre.com gloves so they may remember one inspirational speech, saying that wish is granted and the English another and the soldiers depart. they need no more men and the prepare for battle. After which, the king delivers a current army they possess shall be soliloquy on what it is to be a king more than enough. He also states Act 4, Scene 4 and the heavy responsibility the that any man who fights with him Pistol threatens to kill a French title carries compared to his regu- will be his brother. The lords are soldier who begs for mercy from a lar soldiers. He is then summoned inspired and they prepare to do man he thinks is a valiant gentle- by Erpingham to rejoin his troops. battle when Montjoy arrives. He man. Using the boy as a transla- When he leaves Henry then prays offers (this time from the con- tor, Pistol threatens to cut the to God not to be judged Frenchman’s throat. The upon his father’s usurpa- Frenchman, Master Fer, tion of the throne from then claims he is from a Richard and to give rich house and offers to him and his men good pay Pistol two hundred fortune. He is then sum- crowns if he spares his moned once again by life. Pistol agrees and his brother Gloucester to the men depart. The boy end the scene. then delivers a solilo- Act 4, Scene 2 quy on the foolishness of Pistol and reveals The French army pre- that even Bardolph and pares itself to do battle Nym, who at this point with the English. A are both dead, look good messenger arrives and in comparison to him. informs them that the He relates that he has English are ready to been ordered by Captain do battle. The Dauphin Fluellen to guard the delivers an arrogant luggage behind the lines speech predicting the which he will do to the French victory, which is best of his ability. followed by an account by Grandpre, a French Chorus soldier, on the extremely The chorus apologizes poor condition of the for the battle scene to English army. After be enacted with a hand- several more deroga- ful of actors and fake tive comments about swords, but ask once the English, the French set off to again for the audience to use its battle. stable) the king one last chance to ransom himself and prevent a imagination to see the full battle Act 4, Scene 3 battle that he will surely lose. The in its mind. king, of course, refuses this offer Act 4, Scene 5 Certain lords of England discuss and delivers yet another patriotic their chances in battle against the speech in favor of the English. The Dauphin and the other French French and it is revealed that they Montjoy leaves to return this an- lords frantically discuss the poor are outnumbered five to one. After swer. York, the king’s cousin, asks performance of the French army hearing Westmoreland wish for if he may lead the vanguard, his and that they are now the ones more men, the king delivers an

www.AppletonNorthTheatre.com 15 at a disadvantage. One of the words. The king agrees that he to England and take up a life of French Lords dies. All of the men, should keep his word and admits petty crime since he has learned though, agree to keep fighting. to Williams that it was he who in a letter that Mistress Quickly The Dauphin comes across the actually challenged him. Williams has died of a venereal disease. He boy who is guarding the luggage defends himself by saying that he ends the scene by saying he will and kills him. did not know he was challenging pretend to everyone he has been the king and, therefore, should not hurt in the war. Act 4, Scene 6 be punished. Henry commends the Act 5, Scene 2 Gower and Fluellen discover the fact that Williams kept his word murdered boy and are angry at and gives him his glove back Back in France, Henry and the the French cowardice to do such filled with crowns. Fluellen also French king exchange kind words a deed. Henry enters with his offers Williams money, which he over the peace that is upon them. Lords discussing that the English refuses, but Fluellen insists he The French king agrees to go have fought well in the battle take it anyway. An English her- over the terms of peace with the but there is still more work to ald arrives with the death count English lords and Henry and be done. He discovers the slain for both sides of the battle: The Katherine are left alone together boy’s body and in anger orders French lost a total of ten thousand with Alice. The two engage in a all of the French prisoners to be men, many of whom were men of lengthy, semi-romantic conversa- killed. The French herald Mont- rank. In addition, the English cap- tion, in a combination of English joy then appears and begs the tured around 1,500 men of rank and French, which ultimately king to allow them to retrieve the of the French. The English, on the results in the two being betrothed bodies of the many French sol- other hand, only lost a total of 25 to one another. When the oth- diers that have died in the battle. men. Henry thanks God for the ers return, the French King has He also reveals that the English tremendous victory he has award- agreed to all conditions of the have won the battle, which was ed them and says they shall depart treaty, namely that Henry is the fought before the town of Agin- for Calais and then London. He heir to the French throne and that court. Henry gives the credit of orders that the song Non Nobis be he shall take Katherine as his wife the miraculous victory to God and sung in honor of the fallen. and queen. The two countries look orders his officers to accompany Chorus forward to times of peace. the herald onto the battlefield to make a count of the fallen on The Chorus tells of Henry’s Epilogue both sides. Henry and Fluellen triumphant return to England and The Chorus tells of the fact that then engage in a conversation of the modesty he shows when he ar- although Henry V achieved so Welsh patriotism. Henry exits rives. The audience is then asked much in his short reign, all would and Gower and Fluellen talk of to use their minds to imagine five be lost during the reign of his son, the king’s greatness, comparing years passing and Henry now Henry VI. him to Alexander the Great. Fluel- ready to venture back to France to len even makes the comparison of discuss terms of peace. Alexander killing his good friend, Cleitus, to Henry’s shunning of Act 5, Scene 1 Falstaff. Henry renters along Fluellen tells Gower that Pistol with Williams who is wearing the has insulted the leek, symbol of glove that Henry gave him while Wales, which he wears in his disguised. When the king inquires hat. Pistol appears, and Fluel- of the glove, Williams said he len cudgels him and forces him will box the ear of the man who to eat the leek. The humiliated gave it to him for his dishonorable Pistol decides that he will return

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