One of the notable features of the National Theatre’s modern dress production of Henry V was the use of the conventions of contemporary television and video to advance the action. Nicholas Hytner says he aimed to provide a commentary on the way the media and spin are intimately involved in the waging of modern war. Actor Rupert Wickham describes it as a
coup de theatre .
Video is used throughout as an integral part of the action. We see Henry in an expensive suit, speaking to the nation in the manner of a
Prime Ministerial broadcast , to rally support for war. In ironic counterpoint, as the Chorus tells us that “the youth of England are on fire” for war, Bardolph and Nym, who are watching the broadcast in a pub, are busy switching channels looking for football, or snooker.
A very different Henry, in soldier’s fatigues, threatens the inhabitants of the
besieged city of Harfleur with atrocities unless they surrender. Note his final angry gesture to “cut”, telling the cameraman to stop filming. Here the propaganda effect is to intimidate, rather than raise morale and rally the troops. We witness the full effect of his words when we see the same scene through French eyes as a horrified Princess Katherine watches it with the benefit of French subtitles.
The
Rehearsal Diary explains how Hytner uses another contemporary convention: the
home video , as flashback to recall the dissolute playboy Henry once was. We see him, scarcely recognisable in dreadlocks and mugging to camera, as Falstaff clowns to an appreciative pub audience.
Finally we see Henry in a
propaganda video designed to cement his reputation at home. It is composed of a montage of images of the King striking martial poses on the battlefield, and set to patriotic music.
It is left to the Chorus, previously something of a cheerleader for the King, to undercut this victorious portrait in the closing words of the play, by reminding us of the legacy of Henry and his son, Henry VI: “That they lost France and made his England bleed.”
