Review – Henry V and Much Ado

Edition Ninety-Five- Week Ninety-Five:

Written by: Jacob West

Highlights of the Classical Season

With the summer season drawing to a close, it’s time to reflect on the theatrical highlights of the past few months. Without question, my favorite production of the season was the thrilling Henry V, brought to life by First Maria Ensemble and The Knickerbocker Players in their remarkable “Shakespeare in the Raw” series. For those unacquainted with the term, “in the raw” refers to a stripped-down, no-frills approach to Shakespeare, focusing on the purity of the text and the intuitive skill of the actors. This method allows the actors’ talent to shine through with unvarnished authenticity, and in Henry V, this approach paid off handsomely. The cast, led by the European actor Hraban Luyat as King Charles VI, was nothing short of electric.

Luyat’s turn as the bewildered yet endearing French monarch was a standout, making the character unexpectedly lovable and often stealing the show. His performance was so compelling that I find myself closely following his trajectory. As Luyat stepped into the role of Leonato in Much Ado About Nothing with Arachne Theatre, I eagerly anticipated how he would channel his talent into yet another complex Shakespearean figure.

Arachne Theatre’s latest production of Much Ado About Nothing, under the deft direction of Xenia Danylyszyn, offers audiences more than they bargained for, and it’s all the better for it. The choice to weave in elements from Measure for Measure and All’s Well That Ends Well adds a surprising depth, turning Shakespeare’s romantic comedy into a thoughtful exploration of societal norms, love, and the ever-present tension between generations. And yet, the production never loses sight of its comedic roots; humor and lightness remain very much at the forefront, with the audience invited to engage in the fun at every turn. The result? A vibrant, interactive experience that truly captures the spirit of Shakespearean theater: alive, relevant, and joyously noisy.

In line with their commitment to making theater accessible to all, Arachne Theatre took a commendable step before their official opening at the exclusive Caveat venue by offering a free performance in Central Park. This gesture not only provided a much-needed balm for the temporary closure of the Delacorte Theater for renovations but also reminded us of the profound connection between Shakespeare’s work and the natural world. Watching the cast seamlessly integrate the unpredictability of nature—whether it was a bird’s song, the chorus of crickets as dusk settled, or a thunderous downpour—was a revelation. It was as though these elements were scripted, adding to the performance a raw authenticity that felt closer to what Shakespeare might have experienced in his day. The cast’s ability to adapt and improvise in this setting was nothing short of masterful, proving once again that Shakespeare belongs under the open sky, where his words take on a life of their own amidst the elements.

Central to this production’s success is the outstanding trio of performances that drive the narrative forward with both power and nuance. Hraban Luyat, fresh from his acclaimed turn as King Charles VI in Henry V, delivers a moving portrayal of Leonato. His interpretation of the character—torn between familial loyalty and societal pressures—lends the role a dignity that feels incredibly sincere. Luyat expertly navigates Leonato’s emotional turmoil, particularly in the latter half of the play, where his heartbreak and ultimate reconciliation with Hero become a masterclass in restrained yet profound performance. The contrast between Luyat’s portrayal of Leonato and his previous regal yet befuddled King Charles VI is striking, further cementing his status as one of the most versatile actors gracing the New York stage.

Emily Ann Banks brought a razor-sharp wit and a modern flair to the role of Beatrice, ensuring she remained both timeless and relatable. Her quick-fire delivery and natural comedic timing keep the audience in stitches, while her tender moments with Benedick reveal a vulnerability that grounds her character in reality. It’s a performance that feels perfectly balanced—Banks captures the essence of Shakespeare’s Beatrice while making her distinctly her own.

Adding to the dynamic is Yu Hin Bryan Chan, who juggles the roles of Conrade and Balthasar with aplomb. Chan’s physical comedy is a joy to watch, and his musical interludes as Balthasar offer a light-hearted contrast to the more serious themes explored in the production. His ability to shift from humor to pathos at a moment’s notice speaks to his considerable talent as a performer.

In sum, this production is a triumph—a fresh, engaging take on a classic text that encourages the audience to actively participate in the experience. Danylyszyn’s direction, combined with standout performances from Luyat, Banks, and Chan, ensures that Arachne Theatre’s Much Ado About Nothing is indeed well worth the noise.