Shakespeare’s history plays are known for centering powerful men; in a long list of Richards, Johns, and so, so many Henrys, women are hardly central to this genre in the Bard’s repertoire. However, that doesn’t mean that women can’t become centered with a little creative gender-bending, and that’s exactly what director Madison M. Mansouri has done with this year’s Shakespeare on the Hill production. Featuring an all-woman cast, Tennessee Stage Company’s production of Henry IV Part I, one of Shakespeare’s funniest and most memorable histories, is a rollicking riot and resolute reflection on womanhood all rolled up into one.
The Mabry-Hazen House, nested atop Mabry’s Hill just south of downtown, has consistently been the chosen venue for Tennessee Stage Company’s Shakespeare on the Hill series, and it serves each story well in its own unique way, including Henry IV Part I. The historic home is one of those locations that can be imagined any way you like it—a throne room, a tavern, and even a battleground. Much of the worldbuilding comes from costuming and props by Patti Rogers, with each costume bearing antiquated yet unique features to aid characterization. This is so important with a play like Henry IV Part I that has so many characters and twisting plotlines. To add to this production’s woman-centered vision, breaks between the acts, particularly those set in taverns, are punctuated with live acoustic and a capella performances of girl power anthems such as Shania Twain’s “Man, I Feel Like A Woman,” Joan Jett’s “Bad Reputation,” and Dolly Parton’s “9 to 5,” the play ending in a beautiful, solemn performance of Scottish ballad “The Parting Glass.”
With many members of the all-woman cast donning multiple roles in Henry IV Part I’s extensive dramatis personae, I’ll hit the highlights and focus on the primary roles. Leigh Monet as King Henry is beleaguered with political issues, as conflicts with Scotland and Wales prevent a crusade to the Holy Land. On top of this, Henry’s son, Prince Hal, is not taking his courtly duties as heir seriously. Monet is a stoic presence throughout the play, commanding a stern, controlled power in her role.H. Caitlin Corbitt as Prince Hal is a fallen noble who has lost authority in the courts and found welcome companionship in the taverns with thieves, beggars, and ne’er-do-wells (which is where all the fun is in this play). Corbitt is a rebellious force throughout, dancing between riotous and raucous partying and a deep-seated, genuine need to please the King.
Raine Palmer as Hotspur, the dramatic foil to Prince Hal, lives up to her role with a fierce conviction that boils beneath the surface, exploding in fiery anguish at being spurned by the King. Palmer’s rage is tangible, the delivery of her lines flawless, and she even sneaks in moments of tenderness amid Hotspur’s fury, a testament to her range and deft handling of Elizabethan cadence. Courtney Woolard is a riot as Falstaff, a fat, old, drunk knight and Prince Hal’s boastful bestie. Woolard is charismatic, energetic, and oh so expressive in this role, bringing out the best in her own abilities as well as in Shakespeare’s nuanced characterizations. Director Madison Mansouri said she couldn’t see anyone other than Woolard as Falstaff, and she couldn’t be more right—Woolard absolutely owned the role. She’s best when she can ham it up, and Falstaff begs for that kind of big, over the top expression that Woolard does so well. While I typically like most roles she’s in, this one may be her best performance yet.
Alas, I was only able to attend the very final performance of Henry IV Part I, but nonetheless I hope this very belated review serves as a record of the continued excellence of Tennessee Stage Company and their Knoxville Shakespeare series, season after season. For more information on their upcoming events, visit https://tennesseestage.com/knoxville-shakespeare/.
Photo: Tennessee Stage Company’s Henry IV Part 1 – (L/R) H. Caitlin Corbitt and Raine Palmer – Photo: Madison M. Mansouri
