Week two of the Sydney Shakespeare Company's unprecedented Henry 6 trilogy has arrived. Not to be missed, Part 2 proves that this ambitious undertaking is hitting its stride with remarkable force. Following the French wars of Part 1, this instalment plunges deeper into the political machinations that tear England apart from within, delivering some of Shakespeare's most psychologically complex and dramatically charged writing.
The narrative begins with a focus on the downfall of the noble Duke of Gloucester and the rise of the ambitious Duke of York, while peasant rebel Jack Cade's uprising provides a brutal commentary on class and power. It's a play seething with ambition, betrayal, and the violent birth pangs of the Wars of the Roses, and this production captures every ounce of that intensity.
Returning to the Camperdown warehouse, the Sydney Shakespeare Company has refined the approach without losing the raw authenticity that made Part 1 so compelling. The industrial space continues to serve the material well, with the cast using the venue to create the sense of a kingdom falling into in chaos.
While the entire ensemble maintains the high standard established in Part 1, this production belongs to Chris Miller, who delivers a tour-de-force performance in two pivotal roles. As Richard Plantagenet, Duke of York, he embodies ruthless ambition with chilling precision, making York's manipulation of events feel both inevitable and terrifying. But it's his transformation into Jack Cade that truly steals the show. Miller unleashes a primal energy that turns the rebel leader into a sometimes frightening, sometimes humorous figure of chaotic populism. His ability to shift between aristocratic cunning and working-class rage demonstrates the kind of theatrical range that elevates the entire production, creating two distinctly memorable characters that feel completely justified in their respective worlds.
The supporting performances are equally committed. Logan McArthur continues to find new depths in Henry 6, presenting a king increasingly overwhelmed by forces beyond his control. Lana Morgan brings fierce intelligence to Queen Margaret, while Brendan Layton's Duke of Gloucester commands sympathy even as his political naivety becomes his undoing. Among the 'younger' cast members, Max Shaw in various roles commands his obvious burgeoning talent, while Isaac Niven delivers a memorable performance as Young Clifford, particularly passionate in the play's violent conclusion.
The production again has actors playing multiple roles, which pays dramatic dividends. Amongst others, Simon Lee's contrasting transition from Duke of Somerset to Dick the Butcher exemplifies how the company uses this device not just for practical reasons but to illuminate the play's themes about the lines separating social classes.
Steven Hopley's direction maintains the clarity and focus that made Part 1 so effective, by never allowing the political complexity to obscure the human drama at the story's heart.
This is compelling Shakespeare, performed without pretence by actors fully committed to the material's demands. Part 2 demonstrates that the Sydney Shakespeare Company's trilogy is not just a worthy theatrical experiment but an essential one, revealing depths in these plays that justify their place in the canon.
Henry 6 runs until 2 August at Flow Studios, Camperdown. Individual performances, or the complete trilogy experience on 2 August, offer different ways to engage with Shakespeare's epic vision.
Bookings & more info: www.sydneyshakespearecompany.com
(images: Shakira Wilson)
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