REVIEW : ‘Henry IV’ Scenes Leap Off Stage

“King Henry IV, Part I” is arguably the best of Shakespeare’s histories because of its dexterity in blending high- and lowbrow features: the noble Prince Hal with the rustic Falstaff. The production at the Basement Theatre in Pasadena nicely balances those two worlds, personified scenically by the rowdy Boars Head Tavern and the bloody Shrewsbury battlefield. But what distinguishes the show is a couple of secondary achievements that leap off the dungeon-like, cavernous basement stage at First Congregational Church. First, the play’s combat scenes are gloriously staged by fight choreographer Louis Roth (who also plays the rebel Mortimer), with sword-brandishing warriors clashing, slashing, crumbling or narrowly averting the furious swipes of their enemies. Second, in an endearing and almost unheard-of touch in the production history of this play, the rebel Welshman Glendower (Marc Hirschfield) and his daughter, Lady Mortimer (Phyllis Elliott), actually engage in spoken Welsh. In the text, Shakespeare simply tells us that Glendower and his daughter speak in Welsh, but the characters do not actually utter the words. Apparently even Shakespeare didn’t know Welsh. But the Basement Theatre (formerly the La Canada Players) goes for the native tongue, including a song enchantingly sung in Welsh by the loving Elliott as her husband Mortimer (unable to comprehend a word) gently rests his head in her lap. The Welsh text was created by Tania Lane, and the performers learned it phonetically. An ambitious measure by any yardstick. Those exceptional characteristics, along with the play’s being wisely trimmed to two-thirds of its original length, indicate that director Jim Nasella and producers Kathryn Bikle and Adele Field are serious about presenting accessible, and flavorful, Shakespeare. San Gabriel Valley-area classes in Shakespeare (high school and college) would do well to take note and arrange a visit. It puts flesh on those lyrical bones. The show this reviewer saw was sparsely attended (17 people, far fewer than the 29 in the cast). Granted, the sub-sidewalk level is on the dank side, but the tiered seating offers great sight lines, the acoustics (here enlivened by percussionist John Lackey’s music design and performance) are excellent and the performances are energetic and merit support. As dissolute-turned-valiant Prince Hal, Ian Warwick mirrors the heroic future king in a controlled, forceful performance. And as gluttonous comic Falstaff, Frank Novak, rumbling about in a stuffed gunnysack, captures the merriment and also the sense of impending melancholy when Hal must leave him for the greater good of England. Supporting roles are vivid, notably Don Carlson’s temperamental Hotspur, Debra Froling’s strong-willed Lady Percy, JoAnn Nelson’s bawdy Mistress Quickly, Al Wallen’s colorful wastrel Bardolph and Fred Ellsberg’s imperial, equivocating King Henry (guilty because he has deposed his predecessor Richard II, which leads to the War of the Roses). * “King Henry IV, Part I” Basement Theatre, 464 E. Walnut St., Pasadena, Friday-Saturday, 8 p.m., Sunday matinees, March 14, 21 and 28, 2 p.m. Ends March 28. $10-$12. (818) 397-1651. Running time: 3 hours.