What happens if Shakespeare’s loveable rogue Jack Falstaff finds himself crowned as King? Chaos, carnage, and a kingdom well and truly Jack’d.
1st Zammi Theatre Company transformed the Merchant Adventurers’ Hall this week as York International Shakespeare Festival continues across the city.
Writer Scott Bradley reflected on the US 2016 election that first sparked the idea of this farce in the post-performance Q&A – a welcome addition, enabling the audience to dissect the organised madness that preceded it.
And as unfit millionaires and criminals once again take their seat at the head of the table, Bradley brings his play back out of the woodwork and into its UK premiere with striking relevance. The irony lands close to home, perhaps uncomfortably so.
We first meet Doll Tearsheet, executed charismatically by Julia Bisby, our nymph-like, light-footed friend (or foe depending on the scene) as she skips onto the stage. It’s an opportunity for the world to settle: for the language to feel familiar and for us to be transported to the Elizabethan era, whilst the ludicrous modern political landscape hangs precariously in the balance.
It’s not hard to transform with a setting such as Merchant Adventurers’ Hall. Its towering wooden pillars ground the production, portraits hang boldly and creaky floorboards double as an organic soundscape. As evening light filters through the open space, the performance itself feels naturally illuminated.
So who is our leading man, or rather, leading lady, wearing the crown? Rosy Rowley commands the stage as our tormenting tyrant who is also undoubtedly likeable. Through literal toilet humour and brazen foolishness, she crafts a Falstaff that is as grotesque as he is compelling. There’s something refreshingly subversive in seeing women don the breeches to embody such a figure of excess and power.
Surrounding Rowley is a strong ensemble, clearly nurtured by director Tempest Wisdom. Multi-roling fuels the production’s frantic energy, with simple costume changes, courtesy of Grae Heidi-Brookes, helping to distinguish characters amid the chaos.
And the pace rarely lets up. From the audible rush of quick changes to an extended, chase-like sequence in act two, the stage is in constant motion. At times it’s hard to know where to look, but the thrust staging ensures each audience member experiences something slightly different – perhaps echoing the play’s underlying commentary on perspective and power.
Jimmy Johnson and Katie Leckey make for an entertaining double act from the outset, quickly winning over the audience with bold physical comedy. Oliver James Parkins brings a strong presence to Hal Bolingbroke, balanced by Lou Dunn’s John, who finds themselves on the receiving end of many jabs. Meanwhile, Jodie Mulliah and Effie Warboys deliver convincing Welsh accents as Owen and Lady Catrin Glendower, adding texture to the ensemble.
Of course, no Shakespeare-inspired piece would be complete without a sword fight or two, after all, as quoted in the production, ‘we just like killing things’. Fight choreography by Pearl Mollison enhances these moments, elevating the well-awaited confrontations. Death and betrayal remain ever-present, anchoring the chaos with familiar Shakespearean themes.
Whilst darker undertones simmer beneath the surface, this production ultimately sparks warmth and merriment, thanks to a committed cast and inventive creative team. A welcome addition to York’s ever-growing theatre scene, it embraces both tradition and irreverence. That said, even the most seasoned literary scholar may find the plot somewhat tangled – but perhaps that confusion is part of its charm.
With one final performance this evening, this is your last chance to catch A Kingdom Jack’d: a bold and chaotic farce that doesn’t take itself too seriously, but still has plenty to say.
