Words by Georgia Cudby
In William Shakespeare’s Macbeth, Banquo turns to his friend and asks: “Have we eaten on the insane root?” He attempts to explain their spellbinding encounter with the witches by suggesting they must have ingested a hallucinogenic substance; they had been transported to an unnerving new world with new rules.
Taking its name from this scene, Bristol-based Insane Root theatre charity seeks to do just that: break the bounds of what has been before and forge a new era of daring, site-specific productions.
Their latest experiment? Shakespeare’s lesser-known, historical Henry V, set in the skeleton of the German-bombed Temple Church, the walls of which date back to the 14th Century (not long before the real events of this play took place). Waiting for the show to start, we, the audience, wrapped in blankets, admired the open sky above us, imagining who may have placed these foundations more than 700 years ago. A medieval church for a medieval play.
Before we knew it, this all female and non-binary cast strode onto the scene with massive presence. Weaving through the shell of the church, they would appear and disappear like ghosts, breathing life into both the story and the site. Complemented by haunting original compositions by Ellian Showering and joyful period costumes with a modern twist – think flares, cropped jackets and the medieval equivalent of booty shorts – this production team, led by Director Natalie Simone’s artistic flair, did exceptionally well to make what is usually a very dry history play dynamic, captivating and accessible.
The story is centered on the young Henry V, suddenly burdened with the future of England and its inhabitants. Launching into a war with France, we watch Henry V grapple with the weight of responsibility. “I think the king is but a man,” Henry V calls out into the aether, drawing attention to the absurdity of one young person deciding the fate of thousands. Charlotte East (Henry V) portrays this ruthless yet tender character with striking vulnerability underneath a muscular manner, fizzing with animalistic energy unlocked in a world of warfare.
Despite its poignant themes, Henry V is very funny. Outrageous French accents, sexual euphemisms and petty fights (involving a huge leek, at one point) are performed with world-class comedic timing, physicality and vocal dexterity from this hugely versatile and talented cast. Is there anything they can’t do? We had fluent French-speakers, choral harmonising and multi-rolling so expertly done, you forgot you were watching the same actor. Alice Barclay was everything we needed in a narrator, guiding us through the play’s complex events with clarity and the evocative sounds of their violin. Most impressively, the entire cast handled the 400-year-old language with such precision and craft, that Shakespeare’s poetry was not lost on us.
Though Henry V’s bloody battles and questioning of the folly of war were long, long ago, I couldn’t help but relate the truths to today’s warring world. “I’ll give my honour for a groat,” the soldiers sigh, bringing to light how easily we humans seem to throw away our precious lives in times of war.
It’s hard to believe Henry V could have been put on anywhere else, such is the synergy between this location and this story. Next time I walk past Victoria Street, I’ll always remember where I watched a king stir their army to fight beneath the rustling trees.
We march at dawn with Insane Root for a brighter future in Theatreland.
Henry V is on at Temple Church until 2 August and you can book tickets online here.
