Rehearsal Diary

Adrian Lester: King Henry

Occasional absences arising from Nicholas Hytner’s twin roles sometimes had interesting and productive side effects. For example, once when he was delayed by NT business, the company spontaneously began work while waiting for him to arrive. Out of boredom rather than irritation, Adrian Lester jumped to his feet and suggested that they practice some drill until Nick arrived. Watching this you had the sense that Adrian Lester felt a responsibility that comes with being in effect the ‘star’ of the show, and wanted to use this leadership role within the company dynamic. He seemed anxious to avoid being too authoritative or perceived as being overly keen or ‘starry’; however the company responded to his leadership with enthusiasm.

The initial burst of military efficiency soon descended into chaos, as the actors struggled to find their correct position in the ranks. Adrian was reluctant to lead the drill and asked another actor to take on the role of drill instructor. Unfortunately the man he chose couldn’t remember the order of the various commands, and, as in a classic comedy, forgot to tell them which leg they should lead with as they commenced marching. Consequently the men arrived at the opposite side of the room, out of step, out of alignment and out of control with suppressed giggles.

Adrian intervened immediately, calling the men back to attention. The difference in response and attentiveness reflected the authority and command he was able to achieve in assuming a leadership role. It was hard to discern whether this was a persona imbued by the role Adrian had taken in the play or in the company. Either way, his ability to lead became more present as he reminded his colleagues of what they’d been taught and then led some very ordered and disciplined drilling. Finally Nick Hytner arrived, sat down and watched with evident delight the transformation that had occurred since he last saw his men on parade.

The dynamics were fascinating here - a director who adopts the persona of the supportive teacher, a leading actor who is uncertain of his place within the company but seemed to be relating to his fellow actors in a not dissimilar way to that of Henry to his men. The ‘army’ of actors displayed an increasing sense of ease and familiarity in each other’s company, as the banter that flies between them mirrored the male machismo of the pub, the male changing room or perhaps the barracks. There was such a sense of playfulness in rehearsals, enabled no doubt by the use of ‘toy’ guns, that at times it threatened to spill over into disorder.

Hytner allowed the scene to progress into Adrian's long monologue, spoken without interruption. As he spoke he physicalised the speech, punching out the emphases with his fist in the air, marking out who he was speaking to and about, by pointing his finger. Certain words were physically marked: he clutched his chest and spelt out 'What infinite heart's ease', held up two fingers as he said 'Twin-born with greatness'. He expressed the balance of the argument and the alliteration through shifting his upper body from side to side. Hytner recognised that this was an opportunity for Adrian to map out the journey of the speech and offered no direction but gave some reassuring support. As Adrian took it into the final private monologue in which he offers up a plea to the 'God of battles', he spontaneously dropped to his knees and unexpectedly played the emotion of the moment. He repeated 'O God' over and over, like a silent mantra, a private moment of desperation and anxiety as the full realisation of his responsibility opens up to him. As the speech evolved from this improvised moment, Adrian seemed to become very aware of the intensity of his performance and the effect it had on the atmosphere. In a moment the dynamic went from being a rehearsal into a performance and people's attention shifted accordingly. Seeming to realise this, Adrian lost his focus, the speech petered out and he buried his face in his hands, in embarrassment. Hytner leaped to his feet to reassure his leading actor that his instincts were absolutely right and that he could afford to go off the text at the beginning of the speech.