OF THE many productions I have seen of this patriotic play by Shakespeare this was undoubtedly the most rumbustious. The emphasis is on the common soldiers whose voices and opinions are seldom silenced. Their frequent chants are closely allied to those 21st century sounds that we hear only too often. Yet I think Edward Hall’s arresting production is generally true to the spirit of the play with the nobles less prominent than usual in this martial world of blood and fury.

Violence is ever-present in this hard world and the warrior King is revered for his God-like qualities in which he leads a valiant but uncouth English company of soldiers against the might of France, convinced that God is on their side as they seek to carve off much of France as the spoils of war. Propeller’s young actors are nothing if not adaptable with parts being doubled ( even trebled) up. There is constant action with frequent use of the auditorium for exits and entrances. The scenes before Agincourt, with the rare lull before the storm to come, were well handled Some of the visual effects here were most effective. Propeller’s all-male cast used a young Karl Davies to play a short-haired Katherine the French Princess . This was a convincing performance but I was not so sure about the famous English/French words scene taking place in the princess’s bath tub!

At first I was less than impressed by Dugald Bruce-Lockhart’s King, mainly because his voice seemed unduly subdued, but later he began to dominate the stage, spoke up better and developed a three dimensional role. From an excellent cast I have room only to mention the striking Fluellen of Tony Bell and the suitably dignified French King of John Dougall. There was a minimal emphasis on stage effects and costume but the battle scenes were certainly electrifying. The many young people in the audience appeared to be enthralled throughout by this no-holds-barred production which perhaps was providing their introduction to a live performance of Shakespeare. If so, it was a good choice.