Henry IV

Etcetera Theatre

Natasha Hulugalle

Henry IV is often cited as the existential masterpiece of Nobel Prize winner Luigi Pirandello. Inspired by the mental illness of Pirandello's own wife, it explores the blurred space between illusion and reality, and the paradox of how the isolation of madness can provide a sanctuary from the loneliness of a sane human existence.

During a recreated pageant, Pirandello's hero (Geoff Aymer) falls from his horse and loses consciousness; on awakening he believes himself to be the character he has been playing, German Emperor, Henry IV. Rather than treat his madness, his wealthy nephew (David Pusey) feeds this delusion; 'Henry' is placed in a solitary house decorated as an 11th century palace, and servants are paid to act as mediaeval courtiers to their insane charge.

After twenty years, a troop of old friends, including his ex mistress Donna Matilda (Olivia MacDonald) and his nephew, arrive in the hope of curing 'Henry', though they have ignored him since his accident. Armed with an overzealous psychiatrist, they plan to shock him into sanity by dressing Donna Matilda's daughter, Frieda (Scarlett Perdereau), in the clothes her mother had worn at the pageant twenty years previously. Finally it emerges that Henry regained his sanity after twelve years, but chose the pre-determined comforts of his historical identity over the sad reality of his own wasted life.

The production at the Etcetera Theatre was a stylishly realised event where the clever use of set, lighting and sound were effective in their nightmarish simplicity. Added to this, the actors were largely successful in portraying how a demented atmosphere of uncertainty replaces the half-mocking half-condescending attitude that Henry's friends initially have towards his madness.

Occasionally performances grew a little too melodramatic, as the dialogue gave all involved the opportunity to shout and gesticulate wildly while hurling accusations at one another. This is not to say that the production was marred as a whole, but at times it resembled an Agatha Christie whodunnit rather than one of the greatest works of twentieth century drama. Geoff Hyman's Henry was not always fluent but this gave added frustration to the explosive outbursts of his character, capturing the sympathy of the audience.

One particularly notable performance was that of Olivia MacDonald with her interpretation of Donna Matilda or Matilda as she is known in this production. Her expression and manner were compelling to watch as she balanced stately malice with an insecurity that potently demonstrated Pirandello's sense of the fallibility of human identity.

Till 2 March