Buy Tickets From the 2016-2017 Season: Henry The Sixth: Part Three Playing November 05, 2016 to November 11, 2016

A Suzi Bass Awards Recommended Show!

The battle for the throne continues in almost a masque of Kings: from Henry to York to Edward then back to Henry and back to Edward again. Containing some of the bloodiest and most heart-rending scenes Shakespeare (and, apparently Christopher Marlowe ....), wrote as well as his first foray into writing comedic scenes, this play is a top-notch preparation for Shakespeare’s next play in the series, Richard III.

A part of The Shakespeare Evolution Series!

Join the cast and crew members for a lively Question and Answer session on Sunday November 6 after the show!

Atlanta Theatre Buzz Writer Brad Rudy has kindly let us use his H6 Primer article he wrote the first time we did these plays. We hope it gives you some context and deeper understanding of the plays!


Three Tales of Henry Plantagenet

As they did eight short years ago, the Atlanta Shakespeare Company at the Shakespeare Tavern Playhousewill be venturing back to the fifteenth century and the War of the Roses. The troupe will be presenting all three Henry VI plays sequentially n September and October, then in repertory for a glorious two weeks in late November. These plays are rarely performed, though they were quite popular in Shakespeare’s own time, so I am looking forward to seeing them (again), and thought I’d put together a background piece to prepare you for the experience.

As an introduction, I must confess the story of Henry has a personal appeal for me. A number of years ago (okay, make that a number of decades ago), I wanted to try my hand at writing a full-length play in Iambic Pentameter. Perhaps influenced by the Carter Presidency, I found the story of a man who was a good person but a weak leader especially appealing. Add to that a strong female leader (Henry’s wife Margaret) who would have made an excellent Queen, given half a chance, and it seem the perfect formula for a play about sex roles, about class, and about how Civil War can rend families to pieces.

Well, I finished the play, it was unproducable (and, to this date, unreadable*), but it did lead me to Shakespeare’s version of the events, for which I am ever grateful. I think you’ll find them a perfect example of young Shakespeare’s developing talent (they were some of the first plays he wrote), as well as an intriguing look into the Tudor filters through which Shakespeare often viewed History.

As background, here is some historical trivia that may help your journey:

1422—Henry V, the “Hero of Agincourt,” dies, leaving an infant son. (Regents are the baby’s uncles, The Duke of Bedford and the Duke of Gloucester).

1431—Joan of Arc helps the French defeat the British at Orleans. Most of Henry V’s gains on the continent are now lost.

1435—Death of the Duke of Bedford.

1436—Richard Plantagenet becomes the Duke of York.

1437—Henry VI comes of age and is crowned king.

1445—Henry is married to a French Princess, Margaret of Anjou.

1447—Death of the Duke of Gloucester.

1454—Henry goes a little mad. The Duke of York is named “Protector.”

1455—The War of the Roses begins in earnest with the Battle of St. Albans. The Earl of Warwick (Richard Neville) helps the York faction send Henry into exile.

From here to the end, it gets quite chaotic. Power changes hands over and over. The Earl of Warwick (often called the “Kingmaker") switches sides. York is killed, but his son is crowned Edward IV. Margaret wins a key victory that puts Henry back on the throne. Then Edward is back, and Henry is in the tower. Finally, Henry is murdered in 1471 and Margaret goes into exile. It looks like smooth sailing for Edward and his brothers, none of whom have yet read “Richard III.”

Let’s start with the first bit of Tudor Propaganda. In these plays, the author’s sympathies are definitely with the Red Rose Lancastrians. After all, Henry VI’s mother Katherine eventually married Owen Tudor and begat that whole dynasty. So, of course in Tudor eyes, the Yorkists were opportunists, usurpers, and, in Richard Junior’s case, the most despicable of villains.

But, today, we have little knowledge of the various Plantagenet factions, so we give Shakespeare a “pass” on this one. However, we do know Joan of Arc, or at least we thought we did. Shakespeare was writing 150 years after the actual occurrence, so the bitterness of the losses at Orleans were still a bit vivid (much like many in today’s South are still bitter about our own Civil War). So, it should come as no surprise, that in Part One, Joan of Arc (here called Joan La Pucelle) is characterized as a villainous, cowardly shrew who is very rightly put to death for witchcraft (I especially like how the cast of characters lists “Fiends attending on La Pucelle").

Which leads into another motif—how the plays are structured, and how women are the dominating forces. Part One sets up everything—the death of Henry V, the squabbling of the regents, and the losses in France. Joan emerges as the “force of evil” that sets into motion the future events, and Henry emerges as a good and pious man, who would be happier in a monastery than on a throne.

Part Two centers on the rise of Richard of York, on the downfall of the Duke of Gloucester, and on a popular rebellion of 1450 led by Jack Cade. Here, the “mantle of witchcraft” is passed on to Gloucester’s Duchess, Dame Eleanor Cobham. She “goes to the dark side” in order to secure her position as well as her husband’s, and the results are disastrous.

Finally, Part Three focuses on the War of the Roses and all the whipsawing loyalties and fortunes. Here, Queen Margaret dominates, and her glee at York’s downfall is astonishing—the humiliation of York is one of the cruelest scenes in the entire canon, and is matched by an equally cruel scene where Margaret loses her son. In Part Three we also see the emergence of the man who will be Richard III, and his final scene with Henry is a beautiful “sneak peek” at what will come.

Part Three also contains one of my favorite scenes in all of Shakespeare. In a perfectly realized expression of what is in store in any Civil War, Shakespeare gives us three characters on the battlefield—Henry VI, “A son that hath killed his father” and “A father that hath killed his son:”

SON: How will my mother for a father’s death
Take on with me and ne’er be satisfied!

FATH: How will my wife for slaughter of my son
Shed seas of tears and ne’er be satisfied!

KING: How will the country for these woeful chances
Misthink the King and not be satisfied!

SON: Was ever son so rued a father’s death?

FATH: Was ever father so bemoaned his son?

KING: Was ever king so grieved for subjects’ woe?
Much is your sorrow; mine ten times so much.

Not only does this scene show the horror of the war, it also nicely gives us a portrait of Henry—his goodness, his sense of responsibility, and, yes, his weaknesses. It’s as if the entire trilogy were encapsulated in these 120+ lines.

So, what will be in store for you when you see these plays? Hundreds of characters played by dozens of actors, battle after battle after battle before the final battle. Soaring poetry and primal passion. Three nights of making an obscure (to us) period of British History come alive in its full horrifically blood-soaked glory. And, to the political enthusiasts among us, revisionist spin that beggars the efforts of modern practitioners of the art of propaganda.

If it is only half as well done as the tavern’s last 2008 productions of these plays, it will still be time well-worth spent. But plan now—each play will only be performed a limited number of times.

* I did end the first scene with a rhymed couplet I’m still a little proud of. Young Margaret has been captured after trying to run away from her “handlers,” and has reconciled herself to her future marriage:

So take me off to win my promised ring!
I’ll be your pawn—a queen to mated king!

Everything else [I wrote], though, is pure garbage (shudder).


Read the Plot Synopsis

Henry VI part 3
Early in this masque of kings, Henry makes York his heir if he himself is allowed to reign undisturbed during his life, a hopeless provision. Queen Margaret, aided by young Lord Clifford, continues to fight on behalf of her son, Edward, Prince of Wales. At the Battle of Wakefield, Clifford kills York’s youngest son, Rutland; York is taken prisoner, humiliated and stabbed to death by Clifford and the devilishly mocking Margaret. Avenging him, his three other sons defeat the Lancastrians at Towton where Clifford dies. King Henry away from the battle and soliloquizing about the peace of country life as a sheperd (“O God, methinks it were a happy life/To be no better than a homely swain”), listens to the terrors of civil war symbolized in the laments of a son who has killed his father and a father who has killed his son.

The King escapes to the North; Edward, having ennobled his brothers as the Dukes of Clarence and Gloucester, makes for London and the crown. Henry is captured and sent to the Tower; Warwick, angered by Edward’s decision to marry Lady Grey, joins Margaret, and releases and reinstates Henry and captures Edward. Promptly Edward escapes in his turn and Henry is sent back to imprisonment. Ultimately, Warwick is defeated and killed at Barnet; and Margaret, who has brought reinforcements from France (“Great lords, wise men ne’er sit and wail their loss”) is taken at Tewkesbury, where York’s sons stab the Prince of Wales to death. Richard, on his sanguinary way to the throne, kills Henry in the Tower (“He’s sudden if a thing comes in his head,” says Edward). Margaret is banished to France, and Edward IV has the last words.

from The Pocket Companion to Shakespeare’s Plays by J.C. Trewin


Director's Notes

Directed by Jeff Watkins

Show Information

Duration

Act One - 60 min / 15 min intermission / Act Two - 45 min / 5 minute break / Act Three - 50 min.

Show Roles

Performances November 5-17, 2016



Dramatis Personae
King Henry the Sixth - Mary Ruth Ralston
Queen Margaret - Amee Vyas*
Edward, Prince of Wales - Hayley Platt
Louis XI, King of France - Maurice Ralston*
Duke of Somerset - Sean Kelley
Duke of Exeter - Mary Bridget McCarthy
Earl of Oxford - J. Tony Brown*
Earl of Northumberland - Vinnie Mascola
Earl of Westmoreland - Clarke Weigle
Lord Clifford - Trey York
Richard Plantagenet, Duke of York - Maurice Ralston*
Edward Plantagenet, later Edward IV - Matt Nitchie
Edmund Plantagenet, Earl of Rutland - Hayley Platt
George Plantagenet, later Duke of Clarence - Nicholas Faircloth
Richard Plantagenet - Andrew Houchins*
Duke of Norfolk - David Sterritt
Marquess of Montague - Doug Kaye*
Earl of Warwick - Troy Willis*
Earl of Pembroke - Clarke Weigle
Lord Hastings - Vinnie Mascola
Sir John Mortimer - J. Tony Brown*
Henry, Earl of Richmond - Julia Steudle
Lady Grey, later Queen to Edward IV - Laura Cole
Lord Rivers, brother to Lady Grey - Maurice Ralston*
Sir William Stanley - Shea Stephens
Sir John Montgomery - Trey York
Sir John Somerville - David Sterritt
Mayor of York - Clarke Weigle
Bona, sister to the French Queen - Julia Steudle
Tutor to Rutland - Adam King
A Son, that has killed his father - David Sterritt
Dead Father - Maurice Ralston*
A Father, that has killed his son - J. Tony Brown*
Dead Son - Sean Kelley
Post - Mary Bridget McCarthy
Humphrey - Vinnie Mascola
Admiral Bourbon - Adam King
Soldier Who Reads - Adam King
Gabriel - Nicholas Faircloth
Sinklo - Shea Stephens
Alderman - Shea Stephens
Huntman - Trey York
Watch - Mary Bridget McCarthy, Shea Stephens, Julia Steudle
Lieutenant of the Tower - David Sterritt
Trumpeter - Clarke Weigle

Show Times
Shows at The Shakespeare Tavern Playhouse begin at 7:30pm, except on Sundays, when they begin at 6:30pm

Bardometer Rating

How difficult is this Shakespearean play to grasp? On a scale of 1 to 10.
5
 
What does rating this mean?

These are plays you may have read in high school or college. The plot is fairly uncomplicated, though some of the themes may be dense or dark. These plays may include supernatural elements, straight-forward politics, historical content or religious content. In these plays, there may also be bawdy language and certain adult situations. If we feel a show contains a plethora of Graphic Elizabethan Poetry (or is very bloody/violent/triggering) we will put that disclaimer in the blurb about the show.

Note for all plays: The performers of The Atlanta Shakespeare Company are specially trained to make Shakespeare’s text and intention clear, no matter the plot or the subject matter. They know precisely how to get to the emotional core of each line, each moment, each scene. We promise you will understand everything! Leave the heavy lifting to us!

Additional Information