Orlando Shakes’ ‘Henry VI’ gets war off to a rousing start | Review

Pity poor King Henry VI, coming to England’s throne at less than a year old and in the shadow of his victorious and popular father. Talk about a hard act to follow.

Shakespeare’s play “Henry VI, Part 1,” onstage in a high-energy Orlando Shakes production, is in the same situation. It follows the glorious “Henry V,” which I named the best drama of 2023 in the Orlando Sentinel year-end theater honors.

But if the current play, seen at a preview performance, doesn’t reach the dizzying heights of its predecessor, it more than proves itself with memorable characters and moments.

“Henry VI, Part 1” is presented in the “Bare Bard” style — meaning it mimics many of the ways plays were presented in Shakespeare’s time. No director, no scene changes, no lighting effects, piecemeal costumes and only a week’s rehearsal time, so actors may not have their lines completely memorized. (A prompter comes to the performers’ aid, if needed.)

These may all sound like detriments, but in truth all add to the energy of the production, which without a director clips along at a pleasingly healthy pace.

In another gimmick, audience members are assigned (via a definitely-not-authentic-to-Shakespeare’s-day sticker) to one of the warring factions in Henry’s realm. And there is some crowd participation: the shouting of “huzzah” and such. (I accidentally stood with the French at one point, even though I was assigned a white rose. How gauche.)

The white rose means I was allied with Timothy Williams’ Duke of York, which was doubly pleasing because not only does history place me on the “winning” side, but who wouldn’t want to be on Williams’ team? The Orlando Shakes vet practically quivers with a focused intensity as his character internally stews about the disrespect to his family honor. He spits lines with contempt — but a beautifully righteous contempt.

York’s rivalry with the Duke of Somerset (wearer of the red rose) is one of the many intrigues that bedevil poor young Henry VI, played with appropriate naivete by Trevor Spence.

There really is an embarrassment of riches in the cast, as actors deftly swift roles. Rodney Lizcano, for example, is a combative Somerset and a slippery loyalty-changing Duke of Burgundy (giving Shakespeare one of his pointed digs at the French: “Done like a Frenchman, turn and turn again.”)

Lorena Cohea brings exhilarating fire (I know, terrible choice of words) to Joan of Arc, Johnathan Arvelo gives the Bastard of Orleans particular vitality.

Brandon Roberts imbues the imperious Bishop of Winchester with gravitas — plus some wheedling comic flair for good effect. A scene in which he plays York’s uncle in a rather unfortunate fake beard, though, doesn’t feel momentous enough for an encounter that sets York’s quest for the throne in motion.

Chris Lindsay brings all the power and charisma you could want to mighty warrior Talbot, but the quieter scene in which he and K.P. Powell address mortality and honor as father and son may be the highlight of the entire show.

Keep an eye on Powell, who also plays the Earl of Suffolk, and Roberta Emerson as Henry’s future queen. Powell is a devilish delight as the power-hungry earl and has great chemistry with Emerson. She isn’t given too much to do as Margaret here, but with limited stage time shrewdly (and deliciously) tantalizes with the promise of much more ahead from this multifaceted and fascinating woman.

If you haven’t joined in the fun of Orlando Shakes’ Fire & Reign series yet — a chronological presentation of Shakespeare’s history plays with all the scheming and bloodshed of TV’s “Game of Thrones” — this is the perfect time to do so. “Henry VI, Part 1” kicks off a new era with the birth of the War of the Roses, and Orlando Shakes’ entertaining production promises plenty of excitement to come.

‘Henry VI, Part 1: Joan of Arc’

• Length: 2:10, including intermission

• Where: Lowndes Shakespeare Center, 812 E. Rollins St. in Orlando

• When: Through Jan. 21

• Cost: $27.56 and up

• Info: orlandoshakes.org

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