After discovering Bolingbroke’s fierce character in Richard II, the reader is struck by how little the character of Henry IV appears in both parts of Henry IV. Despite his status as the king and title character in both plays, Henry IV seems to take a backseat to the dynamic characters of Prince Hal and Falstaff. However, in performance, Henry IV’s character appears in anguished melancholy throughout part one, and he seems just as compelling a character as the others. In each scene the director ensures that the line from 2 Henry IV, “uneasy lies the head that wears the crown,” rings true. His portrayal of King Henry IV focuses on this character’s internal anguish and struggle; this performance explains how Bolingbroke’s transformation into king did not occur as seamlessly as it appears in Richard II and also suggests a reason for Prince Hal to formulate a plan for how he will develop as an individual who will eventually become king.
In the opening scene, Gregory Doran references Richard II and demonstrates King Henry IV’s desire for redemption and religion because of the mental guilt and anguish which torture him as king. Before the Royal Shakespeare Company’s performance began, a daunting crucifix hung over the stage which featured a prayer stand with a crown placed on top. The importance of religion and royalty struck the audience before the play even began as these were the only items which sat upon the stage before the lights dimmed and the actors appeared. As soon as the performance began, King Henry IV laid face-down on the ground with his feet together and arms outstretched. He appeared to mirror the crucifix above him, and the ghost of Richard II hung above his head. The fact that his pose mirrored that of the crucifix symbolizes his desire for redemption after his guilt from deposing Richard. Because he appeared in the same pose as Christ except that he appeared face down, his shame rather than acceptance can be understood. In this scene, this initial portrayal of Henry IV sets the tone for disturbed and desperate rendition of King Henry’s character.
As the rest of this first scene unfolds, men walk into the room wearing robes, crosses, and carrying candles. The men chant as they enter the room, and the monk-like figures immediately produce a religious association. Christianity can clearly be understood as a respected and guiding force to these characters, but the tone evokes a dark and foreboding feeling rather than a sense of comfort and fulfillment. King Henry IV’s initial speech confirms this religious tone and uneasiness as he speaks during the dark lighting of this scene. Before he speaks, he places the crown on his head and allows a pregnant silence to fill the room. Eventually, he does speak with the crown upon his head, but the transition in his character while wearing the crown strikes the audience through his pause and eventual solemn tone. As King Henry IV speaks to the men surrounding him in this opening scene, his strained relationship with the crown reveals itself.
Not only does King Henry possess a strained relationship with the crown, but he also demonstrates a tension between religion and warfare. As the men are listening to their King, he opens the robes to reveal chainmail underneath. As he opens his seemingly religious garments, the other men do the same. Each person on the stage reveals a full set of chainmail beneath their robes and cross necklaces. The importance of religion, but its inability to conquer the immediacy of war and rebellion strikes the audiences, especially as King Henry gives his speech about peace which is fraught with many allusions to bloodshed and war. This juxtaposition between two opposite ideals adheres to King Henry’s sense of inner turmoil and anguish which Gregory Dilan emphasizes throughout the play.
While the first scene recognizes King Henry IV’s solemn melancholy as king, the scene with King Henry and Prince Hal emphasizes King Henry’s anger and worry for Hal. While reading I Henry IV, I thought that King Henry seemed a distant and disinterested father, however, I felt that this scene captured how King Henry worries immensely about Hal, but he is too busy drowning in his own distress to properly nurture his son. Prince Hal appears obedient and quiet throughout this scene as if he both expects his father’s behavior and desires his approval. King Henry takes off his crown as he yells at Hal as if he feels like he cannot act abrasively or unbecoming as king. He places his crown back upon his head as he lectures his son more rationally which implies a greater connection to his role as king while acting in commanding and rational roles. Because Prince Hal remains placid throughout this scene despite King Henry’s angry and violent behavior, Prince Hal’s expectation of this encounter is implied. While this scene is relatively short, it implies a lifetime of strained relations between these two characters.
Due to the fact that Prince Hal expects this unpleasant type of interaction with his father who appears utterly miserable throughout almost all of the play, it produces an explanation for Hal’s calculated behavior. His father can barely function as a man, let alone as king, therefore, of course Hal must come up with a way to successfully transition from ordinary man to someone divinely appointed. The depiction of King Henry IV as a man removed from ordinary happiness and emotions, explains why Prince Hal does not follow in his father’s footsteps and wishes to do something separate from what the man desires. It seems absurd to adhere to the expectations of a man who does not know how to behave properly himself. While King Henry IV, acts appropriately as king, his mammoth inner struggle triumphs over his position as an acceptable king. This depiction of King Henry IV explains why Prince Hal would want to indulge in the simple pleasure and happiness of Eastcheap. It also explains why Prince Hal would feel the need to come up with a unique plan to please his father who appears immune to empathetic feelings due to his obsession and discomfort with the crown.