Vivian Beaumont Theatre, (11/20/2003 - 1/18/2004)

First Preview: Oct 28, 2003
Opening Date: Nov 20, 2003
Closing Date: Jan 18, 2004
Total Previews: 20
Total Performances: 58

Category: Play, History, Revival, Broadway
Setting: England, 1403.

Opening Night Production Staff

Theatre Owned / Operated by Lincoln Center Theater (André Bishop: Artistic Director; Bernard Gersten: Executive Producer)

Produced by Lincoln Center Theater (André Bishop: Artistic Director; Bernard Gersten: Executive Producer)

Written by William Shakespeare; Adaptation: Dakin Matthews; Incidental music by Mark Bennett

Directed by Jack O'Brien; Associate Director: Matt August

Scenic Design by Ralph Funicello; Costume Design by Jess Goldstein; Lighting Design by Brian MacDevitt; Sound Design by Mark Bennett; Associate Scenic Design: Randall K. Richards; Associate Costume Design: Alejo Vietti; Assistant to the Costume Designer: China Lee; Assistant Lighting Design: Charles Pennebaker; Moving Light Programmer: Victor Seastone; Assistant to the Lighting Designer: Sean Kane; Associate Sound Design: Michael Creason; Make-Up Design by Angelina Avallone; Wig Design by Charles LaPointe

LCT General Manager: Adam Siegel; Company Manager: Gillian Roth; Assistant Co. Mgr: Josh Lowenthal

Production Stage Manager: Michael Brunner; LCT Production Manager: Jeff Hamlin; Assistant Stage Mgr: Julie Baldauff

Special Effects by Gregory Meeh; Special Effects Design Associate: Patrick Boyd

LCT Casting Director: Daniel Swee; Advertising: rave!; General Press Representative: Philip Rinaldi Publicity; Fight direction by Steve Rankin; LCT Director of Development: Hattie K. Jutagir; LCT Director of Marketing: Andrew Flatt; Vocal Consultant: Elizabeth Smith; Poster Design by James McMullan; Photographer: Paul Kolnik; Dramaturg: Dakin Matthews; Assistant to the Director: Eli Gonda

Opening Night Cast

Tyrees AllenEarl of Westmoreland
Anastasia BarzeeLady Mortimer
Terry BeaverEarl of Northumberland
Tom BloomArchbishop of York
Justice Silence
Christine Marie BrownEnsemble
Stevie Ray DallimoreLord Hastings
Stephen DeRosaBardolph
Richard EastonKing Henry IV
Genevieve ElamDoll Tearsheet
Peter Jay FernandezSir Richard Vernon
Scott FerraraEdmund Mortimer
Ethan HawkeHenry Percy
Michael HaydenHenry
"Hal," Prince of Wales, son to the King
Dana IveyLady Northumberland
Mistress Quickly
Byron JenningsThomas Percy
Earl of Worcester
Albert JonesEnsemble
Ty JonesNym
Kevin KlineSir John Falstaff
Aaron KrohnFrancis
David ManisPistol
Dakin MatthewsChief Justice Warwick
Owen Glendower
Audra McDonaldLady Percy
Jed OrlemannRalph
Lorenzo PisoniJohn of Lancaster
son to the King
Steve RankinPoins
Lucas Caleb RooneyEnsemble
Daniel Stewart ShermanEnsemble
Corey StollEnsemble
Baylen ThomasEnsemble
Jeff WeissJustice Shallow
Nance WilliamsonEnsemble
C. J. WilsonEarl of Douglas
Richard ZimanEnsemble

Understudies: Christine Marie Brown (Davy, Doll Tearsheet, Lady Mortimer, Lady Percy), Stevie Ray Dallimore (Earl of Westmoreland, Poins, Thomas Percy), Stephen DeRosa (Justice Shallow, Justice Silence), Peter Jay Fernandez (Earl of Northumberland), Scott Ferrara (Henry Percy), Albert Jones (Nym), Ty Jones (Sir Richard Vernon), Aaron Krohn (Bardolph), David Manis (Sir John Falstaff), Dakin Matthews (King Henry IV), Jed Orlemann (John of Lancaster), Lorenzo Pisoni (Henry), Lucas Caleb Rooney (Earl of Douglas), Baylen Thomas (Edmund Mortimer, Lord Hastings), Nance Williamson (Lady Northumberland, Mistress Quickly), C. J. Wilson (Pistol) and Richard Ziman (Archbishop of York, Chief Justice Warwick, Owen Glendower)

Awards and Nominations

Tony Award®

winner 2004 Best Revival of a Play [winner] 

Produced by Lincoln Center Theater (André Bishop: Artistic Director; Bernard Gersten: Executive Producer)

 2004 Best Actor in a Play [nominee] 

Kevin Kline

 2004 Best Scenic Design [nominee] 

Ralph Funicello

 2004 Best Costume Design [nominee] 

Jess Goldstein

 2004 Best Lighting Design [nominee] 

Brian MacDevitt

winner 2004 Best Direction of a Play [winner] 

Jack O'Brien

Drama Desk Award

winner 2004 Outstanding Revival of a Play [winner] 

Produced by Lincoln Center Theater (André Bishop: Artistic Director; Bernard Gersten: Executive Producer)

winner 2004 Outstanding Actor in a Play [winner] 

Kevin Kline

winner 2004 Outstanding Director of a Play [winner] 

Jack O'Brien

winner 2004 Special Award [recipient] 

Book adapted by Dakin Matthews

 2004 Outstanding Set Design of a Play [nominee] 

Ralph Funicello

 2004 Outstanding Costume Design [nominee] 

Jess Goldstein

 2004 Outstanding Lighting Design [nominee] 

Brian MacDevitt

 2004 Outstanding Sound Design [nominee] 

Sound Design by Mark Bennett


AP: "Henry IV Proves to Be Stirring"

It's a monumental subject, but then Lincoln Center Theater's production of "Henry IV" is monumental theater, a stirring adaptation of two of Shakespeare's history plays featuring one of his most popular characters, that bibulous, bellowing, carnal creature called Falstaff.

Director Jack O'Brien has had the audacity to think big in this mammoth, nearly four-hour stitching together of Parts 1 and 2 of "Henry IV." What's more, O'Brien, a talented cast and an innovative design team have the ability to pull it off.

And at the center of their heroic efforts is Kevin Kline, giving what most likely will end up as the best performance of the season. As Falstaff, the actor, virtually unrecognizable encased in tufts of white hair and a large body suit, is the epitome of excess.

His Falstaff is not merely comic (and Kline gets every laugh out of the man's foibles) but a highly complex individual, often brutish and sentimental at the same time. It's such a complete, nuanced characterization that you feel you are being introduced to this well-known fellow for the first time.

"Henry IV" may be a history play but it is a very personal play as well, dealing with the triangular relationship between Falstaff, mentor to the dissolute Prince Hal, and Hal's prickly, almost combative dealings with his real father, the drama's title character.

The actors completing this three-sided equation are Michael Hayden as Hal and Richard Easton, who plays the guilt-ridden monarch. Both are superb - Hayden capturing the boyish immaturity of a lad destined to be king and Easton achingly real as the king who despairs not only for his son but for the future of his country. Watch his amazing deathbed scene.

What all three performers share is an affinity with Shakespeare's verse. They have the technique to negotiate the play's more heroic passages, lines recited in the full heat of battle or during the emotional, familial confrontations that stud the play.

Those battles, primarily with forces led by the aptly named rebel, Hotspur, are staged with gusto. O'Brien has the opposing armies swooping across the vast stage of the Vivian Beaumont Theater and engaging in fierce, hand-to-hand combat. Designer Ralph Funicello's massive wooden settings, large crisscrosses of planks, form an appropriate background to all the carnage.

Hotspur, played by Ethan Hawke, is a worthy if hyperkinetic opponent for Prince Hal. Hawke has the emotion if not the language down pat for this volatile young man but it doesn't severely hamper the contest between the two would-be kings.

One of the strengths of O'Brien's production is the parade of fine actors in even the smallest of parts. Audra McDonald makes an impassioned Lady Percy, Hotspur's wife. And Dana lvey does expert double duty, first as Mistress Quickly and then as Lady Northumberland. Among the villains, Byron Jennings excels as Hotspur's father.

Kline isn't the only master of comedy. Jeff Weiss is an idiosyncratic yet funny Justice Shallow and gets laughs. So does Tom Bloom as Justice Silence. Falstaff’s cohorts, portrayed by Stephen DeRosa, David Manis and Ty Jones, offer strong, distinct support.

A word should be said about the adaptation, done by Dakin Matthews, who also plays both the loyal Chief Justice Warwick and the rebel Owen Glendower. Matthews, a veteran dramaturge for San Diego's Globe Theater, hasn't changed any of Shakespeare's lines. He has cut carefully, though, leaving much of "Henry IV, Part 2" out of the proceedings. Surprisingly, it doesn't harm the evening.

There are many startling visuals in this "Henry IV." The one that lingers longest occurs in the last moments of the play. Despite the epic sweep of what has gone before, what we see is very human and absolutely heartbreaking. It's the newly crowned king, now Henry V, alone in a spotlight. And hovering in the shadows is his surrogate father, Falstaff, now banished but aware that his one-time, boisterous good friend has grown up and become a man.


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