La corona vacía

I saw the Michael Bogdanov directed versions of these plays at the Old Vic some time ago and loved them! But they didn't translate that experience onto the videos sold. This was a fine effort to film the unfilmable with Richard ii and Henry IV Part one coming out of the mix very well. The latter's opening pub scenes are incomprehensible to me and the Bogdanov version solved this by having Pistol burst in wearing a Buffalo Bill costume and firing off his pistols. By the time the audience had recovered from this, the rather difficult scene was over. Get past the opening hurdle and this play becomes one of Shakespeare's wittiest and wisest. This was an excellent production.I was less enamoured of Part two but mainly because it has weaker material in it (the army recruitment scene was tedious.) However this was forgotten when in the second half of the play, Jeremy Irons gave a towering performance as Bolingbroke. Tom Hiddleston was great as Hal/Henry V and you could chart his progress from tearaway youth to hero soldier with fascinated admiration. Surely he is wasted in Marvel films, good as he is in them. Having seen Jeremy's performance as Richard ii in Stratford ,it was brilliant to see him play the man who caused the downfall of that king (Richard II). And all from the comfort of my armchair! Great casting of Ben Wishaw and Rory Kinnear as modern incarnations of Richard/ Bolingbroke in this feud. The BBC have acquitted themselves well.I only wish there was a series 2 featuring the Henry 6th trilogy and Richard iii that completes this cycle of plays .Steve Qualtrough

"The Hollow Crown" is BBC's magnificent filming of the Shakespeare's second Henriad (Richard II with Henry IV's rise to power, Henry IV, parts I and II, and Henry V). I believe the first three of these have only been filmed in the old 1970s BBC series of Shakespeare's complete works, and although the old series was at its best with its version of Henry IV, "The Hollow Crown" is far above it. Simon Russell Beale is the ideal choice for Falstaff, even with Orson Welles hard on his heels in the Falstaff compilation "Chimes at Midnight", Tom Hiddleston is a great Prince Hal, and Jeremy Irons, never known to err, shines as the guilt-ridden King Henry IV.

There are some interesting comments on the bonus material for Henry IV, part II that explains why the plays come across so successfully in 2012. Thea Sharrock, director of Henry V, muses that people may be shocked at hearing the actors speak in real surroundings (on location), but of course, that's old hat. Even Olivier anticipated that in 1944 with his Henry V. Moviegoers are not that easily shocked anymore. And although Hiddelston is also mistaken in his claim that it has never been done before, he is right in stating that "Shakespeare is at its best when you speak it like you're making it up." Julie Walters adds, "You've got to speak the lines, not in a stilted isn't-the-verse-beautiful kind of way; it's got to be the way you talk"

This natural way of speaking the lines, more foreign to British Shakespeare productions than to American ones, accounts for the greatness of "The Hollow Crown".

When I was at school, Shakespeare was as dry as the pages it was written on. To watch it, performed by actors who really know and understand Shakespeare, and can convey that in their work, is to enter a world of majesty, of subtle innuendo, of humour and of total understanding of the work of the Shakespeare who used his gift to allow 'the common man' to discuss and understand the goings-on and political machinations of his age. There are no 'spoilers' when it comes to Shakespeare - the work is out there in a myriad of forms and interpretations, waiting to be read. This production is one of the best available. Watch it, then read the plays. Savour the words. Go back and watch the scene performed. Truly appreciate the nuance and the masterful language of the master at work. I cannot recommend this production highly enough. From the haughty, almost effete King Richard (Ben Wishaw) through Jeremy Iron's haunted Henry IV to the masterpiece of development that is Tom Hiddleston's Prince Hal, this production brings the humanity and the grandeur of the role of King and all that conveys. Get it. Watch it. Love it.

There's no question of the production values here, and Hiddleston is excellent. But my lord! What a dour, dismal concept! This play is one of the most playful Shakespeare ever wrote. The playfulness lies not only in the relationship between Prince Hal and Falstaff, but also Hotspur and his wife, and even some of his political speeches. (His fury in the initial confrontation with Henry IV is so exaggerated that it can be played comically).

I have never read the dialog between Hotspur and Kate as anything other than play - and indeed, one of Hotspur's better traits is this very modern relationship he maintains with his wife. But the director has unaccountably chosen to treat this interchange as a marital quarrel, as if Kate would actually threaten to break her husband's little finger. Come on.

The staging of Falstaff and Prince Hal is even worse. Shakespeare wrote some awfully good jokes for Falstaff, but you'd never know it in this version. I would not normally presume on Big Bill's intentions, but I am sure he meant Falstaff to be likable, charming, for the audience to be on his side - and Hotspur, too, for that matter. In fact, the audience is supposed to enjoy most of these characters, and be saddened by the necessity Hal feels to reject Falstaff and all the world, and the inevitability of Hotspur's defeat.

The director has the drama right, but he has lost the comedy - and that is the shame. I think it put the cycle out of balance.

What distinguishes these hollow crown productions from their predecessors is the crystal clarity of the text as delivered by the cast – well done everyone! It is so easy to fall into the trap of believing that the text is to be delivered as verse. Twaddle! Ideas like that permeate school English classrooms where failed actors teach gullible pupils that iambic pentameters rule. No, they do not! Furthermore, good presentation of Shakespeare is so often ruined by over enthusiasm on the part of the performers. Without wishing to name names, I saw one version of "Much Ado About Nothing" where the comedy in the text was entirely lost because the director and his cast insisted on inventing and adding their own comedy instead. It is a brave man who would want to out-do Shakespeare! The ability of these Hollow Crown productions to tell the story which leads ultimately to the "Wars of the Roses" was admirable. There was so much to say – even before the "Wars" had begun. I should probably watch them all over again….! And I think I will!