by Barbara Waldinger
The Contention (Henry VI, Part II) is probably Shakespeare’s first play, according to the program note of the Director, Tina Packer. As such, it is as stuffed with extreme actions and emotions, violence and humor, power struggles and severed heads as is the nearly extinct ice cream shop JAHN’S (formerly in NY and Miami) most famous dessert, the “Kitchen Sink,” consisting of 18 scoops, gobs of whipped cream and various syrups.
Shakespeare & Company’s production lasts three hours, including intermission. The play was originally entitled: The First part of the Contention betwixt the two famous Houses of York and Lancaster, with the death of the good Duke Humphrey: And the banishment and death of the Duke of Suffolk, and the Tragical end of the proud Cardinal of Winchester, with the notable Rebellion of Jack Cade: and the Duke of York’s first claim unto the Crown. Theatregoers may well ask themselves how a script with about sixty characters could possibly be produced onstage, or be financially feasible, or attract an audience unfamiliar with the play who would be tasked with figuring out who is who. Enter Tina Packer, founding Artistic Director of Shakespeare & Company, and Allyn Burrows, the current Artistic Director. Eight years ago Packer directed The Contention for the Actors’ Shakespeare Project in Boston, in which Burrows performed multiple roles. Packer had condensed the play to include about forty characters, played by ten cast members. Knowing it could be done, Burrows and Packer had to consider how to fill the seats. Enter the unsung hero Ann Berman, who holds an M.A. in Shakespeare Studies from London’s King’s College and the Globe Theatre and met Burrows, who was Artistic Director of the Actors’ Shakespeare Project, when she took students to see productions there. Berman has been giving lectures to audiences about upcoming Shakespeare plays here in Lenox. Beginning in March she offered her first of several lectures on The Contention, adding another this June, in addition to a four-session zoom class as part of Berkshire Community College’s OLLI (Osher Lifelong Learning Institute). Thanks to Berman’s considerable efforts, audiences will be well-prepared for this production, which Burrows and others have compared to HBO’s Game of Thrones (note the violent power struggles, the Walk of Shame—but that series had 73 episodes to explain it all). Need we mention the relevance to our current political situation?
As the play opens, tensions are already high. King Henry VI (David Bertoldi), 23, having ascended to the English throne at nine months old, has been guided by his uncle, Duke Humphrey of Gloucester (Jonathan Epstein), who serves as Lord Protector. Henry is weak: unwilling and unsuited to be a monarch, resulting in a power vacuum at the top. The nobles seek to take down Gloucester, because of his influence over Henry. Thrown into the mix is the King’s marriage with Margaret of Anjou (Tamara Hickey), arranged by the Duke of Suffolk (Allyn Burrows), who has been sent to France for that purpose and begins an affair with her. Unfortunately, Margaret not only brings no dowry but also, as part of the deal, England is forced to return Anjou and Maine to the French, which enrages the nobles. Meanwhile the Duke of York (Nigel Gore), with the support of Warwick, later known as the kingmaker (L. James), plans to seize the throne. And that’s the first of five acts!
In her Director’s note, Packer (who was assisted by Associate Directors Kate Kohler Amory and Sheila Bandyopadhyay), observes that the play “is a delightful mix of naked politics. . . and comedic farce.” One of Packer’s strengths is to take every opportunity to exploit the humor in Shakespeare’s plays, which showcases the incredible versatility of Shakespeare & Company’s veteran actors, many of whom have been cast in The Contention. As an example, Allyn Burrows seems to be having the time of his life playing a standout comic figure (Jack Cade) who leads a rebellion of commoners against the King. He asks Dick, the butcher (Nigel Gore), who runs around with a bloody hatchet, to chop off the head of any educated person they meet (the elite?). Jacob Ming-Trent, Kenneth Ransom, Austyn Williamson and Bella Merlin (who was so compelling as the Duchess of Gloucester) also shine as comedians.
Yet sometimes a misuse of humor can seem to undermine the characters’ intentions. Consider Bertoldi’s Henry: though he is young and childlike, when we meet him his actions are silly and clownish, revealing his very obvious discomfort when he first encounters Margaret. She, on the other hand, physically forces her attentions on him. All this elicits laughter from the audience, yet as we get to know the King and understand that he is surrounded by enemies, we begin to sympathize with Henry, who ultimately becomes a sad figure, not a clown at all. A second example is the reaction of Suffolk and Margaret to his upcoming banishment, as their goodbyes become more and more heated until he throws himself upon her. This eroticism contrasts with Gloucester’s grief at his wife’s banishment.
Shakespeare buffs will notice glimpses of future themes and characters: The Duchess of Gloucester’s driving ambition for the advancement of her husband foreshadows Lady Macbeth; Henry’s weakness appears again in Richard II; York’s ruthless campaign to be King prefigures Richard III as well as other villains, whose manipulation and cruelty they openly share with the audience; Cade may be the prototype for Dogberry and other well-known clowns, while his fickle followers provide the germ of the mob in Julius Caesar; Henry’s language as he banishes Suffolk resembles Lady Anne’s as she attempts to rid herself of Richard III’s advances; the consequences of that banishment presage Romeo’s— and much more.
Kiki Smith does yeoman’s work providing the many costumes necessary for each actor to play multiple roles; Sarah Edkins’ set allows the performers all the room they need for their battles on the long, thrust stage, supplying only two armless royal chairs, a couple of platforms to create levels, and upstage walls to climb; James McNamara’s lighting not only enhances the stage beautifully, but also illuminates the balconies over the stage and audience; Steve Deptula and Alexander Sovronsky supply original music while Brendan F Doyle is responsible for sound—all adding to the theatricality of the production.
There are many reasons to see The Contention: it is a rarely produced play written by a raw young talent trying to compete with the well-loved playwright of the time: Christopher Marlowe; for the pleasure of seeing skilled actors transform themselves into contrasting characters within minutes; or for the fast-paced action, often overlapping scenes; and that swordplay. Something for everyone!
THE CONTENTION (Henry VI, Part II) runs from June 17—July 15, 2023, at Shakespeare & Company’s Tina Packer Playhouse, 70 Kemble Street, Lenox, MA. For tickets call 413-637-3353 or online at shakespeare.org.
Shakespeare & Company presents THE CONTENTION by William Shakespeare. Director: Tina Packer. Associate Directors: Kate Kohler Amory and Sheila Bandyopadhyay. Cast: David Bertoldi (Henry/Bolingbrook), Allyn Burrows (Suffolk/Cade), Jonathan Epstein (Gloucester/Clifford), Nigel Gore (York/Dick), Tamara Hickey (Margaret), L. James (Warwick/Holland), Bella Merlin (Duchess of Gloucester and 5 guys), Jacob Ming-Trent (Cardinal/Homer), Kenneth Ransom (Somerset/Hume), Austyn Williamson (Jourdain/Vaux). Set Designer: Sarah Edkins; Light Designer: James McNamara; Costume Designer: Kiki Smith; Sound Designer: Brendan F Doyle; Original Song by Steve Deptula and Alexander Sovronsky; Violence Designer: Martin Jason Asprey; Production Stage Manager: Hope Rose Kelly.
The performance runs 2 hours and 45 minutes, including intermission.